Chris Wasser

So it's estimated that this thing cost around 200 in the end.

And the reason for that is because Anton Foucault at one stage had a four-hour film on his hand.

And those who saw an early draft of the screenplay, including a man named Dan Reed, who gave us the Leaving Neverland documentary a few years ago, they claim that the film initially dealt with all of the allegations, all of the child abuse allegations.

And then it originally opened with Michael Jackson staring at himself in the mirror, the man in the mirror,

in his Neverland ranch, and he can hear police sirens in the background, and we would fade back.

How did we get to this point sort of thing?

And then the third act of the film would go back to 1993 and explore all those allegations and the impact that they had in his life.

When those scenes were shot, you had then the lawyers coming in from the Jackson estate saying, uh-oh, we found the clause.

There is a clause in a settlement between the Jackson estate and Jordan Chandler, who is a man that Michael Jackson is alleged to have abused when he was a child.

that states that Jordan Chandler and that entire case in 1993, a case that dominated headlines around the world, it can't be named and some parts can't be referenced in a dramatization.

So you had a film where the final hour and also the beginning is directly addressing that, which means that you then had filmmakers panicking.

So the Jackson estate said, look, this is our fault.

They coughed up another 15 to 20 million and said, reshoot the film and fix it in a way that maybe let's end this in the 80s instead of the 90s.

And hey,

then we don't have to address the allegations whatsoever.

So that's what they did.

It does in snippets.

I mean, to provide any sort of meaningful description of a plot would be to trick audiences into thinking there is one.

There isn't.

It's all just kind of highlights and lowlights and snippets that don't really come together.