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What complicates, and ultimately deepens, Reed’s investigation is the loyalty Safechuck and Robson showed to Jackson while he was alive.
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Interviews with their families-deflated siblings, wives who only learned of their husbands’ childhood trauma after giving birth to sons and negligent but well-meaning stage mothers who blame themselves for ignoring red flags-illustrate how one abusive relationship can damage so many other bonds. Instead, he makes Safechuck and Robson’s memories the core of his four-hour documentary. Reed incorporates no talking heads telling viewers what to think about the revelations, no histrionic score manipulating our emotional responses, no gratuitous collages of late-’80s and early-’90s pop culture or commentary on his subjects’ sexual preferences as adults. Viewers sensitive to descriptions of child abuse or sexual violence may want to watch with a finger on the fast-forward button.) But they’re never sensationalized. ( Leaving Neverland is not appropriate for kids. Their accounts of these incidents are precise, graphic and extraordinarily difficult to hear. At Neverland-which offered “a fairy tale every night,” according to Safechuck’s mother-and on tour, Jackson would allegedly perform and request all manner of sex acts from them. He ingratiated himself with their starstruck mothers, who saw a childlike soul in need of a playmate as well as a figure who could change their family’s lives, only to turn the boys against their parents once he got them alone. Jackson hung out at Safechuck’s modest suburban home and courted Robson from afar with daily phone calls. As the two men tell it, both cases began with extensive grooming. (He’s now 40.) Raised in Brisbane, Australia, 36-year-old Robson taught himself dance moves that earned him an audience with the King of Pop when he was only five. A child actor in California, Safechuck starred opposite Jackson in a Pepsi commercial at age eight. Even more indelible is the way director Dan Reed ( Three Days of Terror: The Charlie Hebdo Attacks) and his two disarmingly open subjects demonstrate how complicated the relationships between young victims and their abusers can be-and how they can poison the child’s life regardless.Īs kids, James Safechuck and Wade Robson had three things in common: creativity, talent and moms determined to make the most of those gifts. The two-part film, which airs March 3-4 on HBO, offers damning evidence to support the longstanding child molestation accusations against Michael Jackson.
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It’s a relief, then, that Leaving Neverland makes the plight of survivors paramount.