Michael Jackson’s music is a gift. What do we do with it now?
The camera flies high above the palm trees of Hollywood, soaring north and west, all the way to the suburb of Simi Valley, where it slows down to seek out a certain street, and then slows some more until it finds a particular house. It hovers above it, and then swoops down, pushing in all the way to the doorstep, where it rests, impatient. It is the house where James Safechuck, one of the two men at the center of Leaving Neverland, an HBO documentary, grew up, but in a way it might as well be the Darlings’ house: “Peter Pan chose this particular house because there were people here who believed in him.”
But the Safechucks are not the only people who believe, because here is another suburban house, and here again is that seeking, searching intelligence, the camera pushing closer and closer. It is the house in Brisbane, Australia, where the other subject of the documentary, Wade Robson, grew up. The implication is clear: Michael Jackson could have any little boy in the world; all he needed were parents who would serve up their sons to him.