Before the documentary premiered, Culkin denied any impropriety. Macaulay Culkin replaced Wade in Jackson’s music video for the song Black or White, and Wade and James dealt with feelings of jealousy and resentment. The two were slowly phased out of Jackson’s life as younger boys were introduced. “It’s still hard for me to not blame myself,” he says, with his hands shaking as he holds the many trinkets.īut the tenderness soon wore off as Wade, still just seven, was allegedly shown hardcore porn, while James was introduced to alcohol. He claims Jackson would reward him with jewelry for engaging in sexual acts. In one of the most chilling scenes, James recalls the mock wedding the pair had, complete with a wedding ring which he still owns and shows to the camera. Michael Jackson with James Safechuck in 1988. He also told the boy that he was Jackson’s first sexual experience and that this was just an “acceptable way of experiencing your love”. James recalls that he woke on one occasion to find Jackson saying that while he was asleep, he had performed oral sex on him. The stories progress into even darker territory as she would find her hotel rooms being booked on different floors, Jackson making sure to prevent any potential discovery. He saw it as a form of “bonding” and it kicked off what he describes as a “sexual couple relationship” when the two were left alone, allowed to share hotel rooms by James’s unaware mother. It’s James who first describes his recollection of their friendship turning sexual with Jackson allegedly introducing him to masturbation. Similarly, the two developed a friendship at a young age and by 10 he was accompanying him on tour, followed by an equally starstruck mother, who saw Jackson as another son. The second accuser, James Safechuck, encountered Jackson after nabbing a key role in a Pepsi ad.
Wade Robson, Dan Reed and James Safechuck. The prize was meeting the man himself and the pair developed a deep friendship, one that was encouraged by an over-eager, self-described stage mother, spellbound by Jackson’s celebrity. Described as “a sensitive boy”, he preferred dance over basketball and was soon emulating Jackson’s moves at the age of five in a local contest. The first accuser, whom we hear from at the outset, is Wade Robson, who at a young age developed an intense fandom for Jackson, his “walls plastered” with posters. Their accounts contain many similarities: they were both younger than 10 when they got to know Jackson, they both possessed a keen interest in performing and they were both allegedly groomed then abused for an extended period of time. In a decision justified in a post-screening Q&A, Reed limits the focus to the two accusers and their families, insisting quite rightly that their stories remain powerful without any extraneous material. While prior court cases might have buckled and previous accusers might have been labelled delusional opportunists, it’s difficult to imagine this sensitively crafted and horrifically detailed film being quite so easily denied. Before it started, we were informed that healthcare professionals were on hand for those who might need it, the explicit descriptions potentially causing difficulties for those who might feel triggered. Over four hours, set to be shown in two portions on HBO and Channel 4, Reed shared the detailed testimonies of two men accusing Jackson of graphic and extensive sexual abuse when they were children. Protests had been teased online, leading to an increased police presence, but on a frosty morning here in Utah, only a small group of the late singer’s die-hard obsessives showed up.įor those inside the Egyptian theatre on Main Street, resistance wasn’t futile, it was utterly impossible. The singer’s estate labelled it “an outrageous and pathetic attempt to exploit and cash in on Michael Jackson” while fans have reportedly levelled threats against the film’s director, the Bafta winner Dan Reed. Ever since it was announced as a late addition to this year’s Sundance film festival, controversy hasn’t been far behind.
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