Friday, December 19, 2025
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Most Profitable Movie of the Year So Far? Horror Film “Ma” Unlikely Hit from People Who Made “The Help”

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The smartest person in the movie business right now besides horror master producer Jason Blum is probably Oscar winner Octavia Spencer. She got her Oscar for “The Help,” a sensitive film about race set in the early 60s South, and never looked back.

Now Spencer and Blum are connected through their movie, “Ma,” a $5 million Blumhouse special directed by “The Help” director Tate Taylor and starring Spencer. Yes, the same Octavia Spencer from other sensitive movies like “Fruitvale Station” and “Hidden Figures.”

“Ma,” which I know, dear reader, you haven’t seen, has made $45 million at the US box office and another $13 million internationally. That’s $58 million on a $5 million budget. And it’s not over. “Ma” is still out there making money. Then it will be a big hit on DVD, streaming, and so on.

Blum has made a fortune with smart horror films like “Ma,” all of which cost $5 million apiece. Plus he produced Jordan Peele’s breakout hit, “Get Out,” which combined horror with social satire to make a potent mix.

Spencer not only stars as “Ma,” she’s an executive producer. She was also an executive producer on this year’s Oscar winner, “Green Book.” Next year she stars in Robert Zemeckis’s “The Witches,” produced by the dynamic duo of Alfonso Cuaron and Guillermo del Toro.

Clearly, she and her team know what they’re doing. What a great story. Before “The Help” came out in 2011, Spencer had spent about 15 years working doggedly, mostly in television, in small roles. This is quite an achievement! And PS, Octavia Spencer couldn’t be nicer.

Games of Temps for Joe Jonas-Sophie Turner Wedding as French Town Sets Record Over 100 Degrees This Weekend

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I told you first and exclusively the where and when of “Game of Thrones” star Sophie Turner’s wedding to pop star Joe Jonas.

I also told you that Bruno Mars was going to be the entertainment.

So cool that the tabs have never acknowledged our scoops. All they wrote until a few days ago was there would be a wedding in Europe this summer.

What I couldn’t have predicted was the heat wave that’s making Carpentras, France in the Luberon mountains sizzle to record temps.

The wedding will occur during 100 degree-plus days, maybe as high as 110 degrees. This part of France is not near the water. It’s dry and hot without much shade or relief. I know, I was there years ago for a heat wave when senior citizens were dying. There isn’t much air conditioning. That wedding will not begin until 9pm, I guarantee you. It’s too hot. And darkness doesn’t fall right now until 10pm.

Of course, there’s plenty at the Chateau where the wedding and parties are taking place starting tomorrow. It’s very expensive.

Meantime, I’m enjoying all the photos taken from telephoto lenses– long, long zoom– by Splash News and all the tabloids including the Daily Mail. As I told you, Vogue has the exclusive on pictures.

Those poor paparazzi– in the sweltering heat, unable to get near a pool, hiding in bushes or whatever. Keep the rose cold, folks! That will help!

 

(Listen) to the Remixed Version of Whitney Houston’s Unreleased Take on Steve Winwood’s “Higher Love”

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Will it be a hit? Is there such a thing?

Who knows? But Whitney Houston’s unreleased version of Steve Winwood’s hit, “Higher Love,” will be dropped on us tonight.

The song was only on the Japanese version of Whitney’s 1990 album “I’m Your Baby Tonight.” There’s a live version from then, when Whitney’s voice was at its peak of gorgeousness. I’ve included it here.

Kygo, a contemporary hit producer, has remixed the recording to make it sound up to date. But really. it’s just that voice. You could listen to it forever. And “Higher Love” was always one of the greatest records ever. Steve Winwood deserves more credit for all his work, from “Gimme Good Lovin'” through Traffic and his solo records.

Here’s the original live version.

 

Who Will Play the Brave Real Life Women of “Maiden” in Feature Film? Brie Larson, Saoirse Ronan, Danielle McDonald, It’s Time to Get Wet

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Here’s the deal on “Maiden,” an extraordinary documentary that sets sail for the Oscars beginning tomorrow in limited release and will go wide over the summer. Tracy Edwards is sort of the new Philomena, a real life heroine who organized the first ever all female crew to compete in Britain’s Whitbread round the world race back in 1989-90.

Once you’ve seen her on screen now, and from the miraculous film that survived from her unique triumph, Tracy is going to be a star. So will her crew, including her pal Jo Gooding, who filmed the whole adventure nearly 30 years ago without any training. Filmmakers at a screening and reception this week for “Maiden” were completely impressed with Jo’s work back then. This tiny woman was completely bowled over by the compliments.

“I just took the camera and shot everything,” she said humbly. “I couldn’t imagine it would become a feature film.”

Director Alex Holmes retrieved all the footage that had been discarded, plus conducted new interviews. Sounds simple, but it wasn’t. And Holmes’s real achievement is in the story telling. The film is dramatic and exciting, and begging for a major motion picture version.

“Maiden” has a surprise hero at its center, too: King Hussein of Jordan. You’ll have to watch the film to learn how he and Tracy hit it off, and Royal Jordanian Airlines came to sponsor the Maiden trip. Three decades later, King Hussein’s daughter, Princess Haya, helped Edwards buy back the original Maiden, clean it up, and send it on a worldwide tour supporting education for young women. Queen Noor (who is not Haya’s mother) sent a message of congrats that was read at our screening.

Who would Tracy like to see play her? Most of the night, the guests–including Oscar winners Barbara Kopple and Karen Goodman, “Veep” actress Margaret Colin, the great Carol Alt, and the evening’s host, Whoopi Goldberg— were taking stabs at names. When the women went on this death-dying trip around the world in a sailboat they were between 27 and 30. Now they’re between 57 and 60. Studios are going to want to tell you the young women’s stories.

Every known actress on the imdb will want to be involved. But if Brie Larson and Saoirse Ronan are up for getting wet, this movie is for them. Danielle McDonald, too.

The word is that “big” Sony- aka Tom Rothman’s Sony– will make the translation since Michael Barker and Tom Bernard‘s Sony Pictures Classics is releasing “Maiden” now.

See this movie! I’m telling you now, “Maiden” will be that Oscar movie you can tell friends you saw this summer.

Review: Fun “Spider Man: Far from Home” — First Marvel Movie Without a Stan Lee Cameo– Relies Heavily on Iron Man and Explaining What Happened in “Endgame”

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You can’t dislike a movie that starts with Whitney Houston and ends with the Go Gos. That’s “Spider Man: Far from Home,” the second movie in the latest Spider Man trilogy starring Tom Holland as a teen Peter Parker. Whitney warbles “I Will Always Love You” over the opening as it’s revealed that students at Peter’s high school are mourning the fallen Avengers from “Endgame” on a closed circuit In Memoriam section a la the Oscars. They’re explaining the very important “blip” in time– a five year jump– from when people disappeared at Thanos’s whim in “Endgame” and returned when the Avengers re-set the clock. (Don’t think about this too hard.)

Now it’s five years since all that happened. Or not, depending on whether you were in the “blip.” This time Peter and his high school pals go on a field trip to Venice and Prague, where of course mayhem is soon to follow. The mayhem in this installment– the 7th Spider Man movie in our contemporary lives — is caused by Jake Gyllenhaal, who starts out looking like a good guy but is really the Marvel villain Mysterio. Gyllenhaal’s leading man looks and total commitment to this silliness (good silliness) are perfect for when he must make the personality switcheroo. Frankly, he should be the next Superman in that series.

Spider Man is now far from home and far from being Spider Man. He’s now entrenched in the Marvel Universe, which means he’s part of the Avengers, directed by Nick Fury (Samuel L. Jackson) who brings along Coby Smulders as Agent Hill. Iron Man’s Tony Stark (Robert Downey Jr) but his trusty aide Happy Hogan is his emissary (Jon Favreau), plus Marisa Tomei literally glimmers as Peter’s hot Aunt May.

There are loads of Easter eggs, plenty of references to the 23 other Marvel movies, lots of name dropping of past and present Avengers, and so on. The visual effects are very good, the music– by Michael Giacchino– is often too brassy and fan-fare-ish and sounds more like the old “Superman” TV show from the 50s.

Holland is a standout, full of energy and youthful optimism. Someone has got to write “The Mickey Rooney Story” for him now to capture the Mickey who jumped from Judge Hardy movies to bedding every beauty in Hollywood. (And stop there, please.) Zendaya as MJ, Peter’s love interest, jumps off the screen. Even bigger things are coming for her. The rest of the supporting cast, starting with Jacob Batalon, always make for an appealing Greek chorus.

This is the first Marvel movie to not have a cameo by Stan Lee. Maybe that’s what it’s missing. “Far from Home” is a travelogue, and fine middle chapter in a trilogy. I’m in awe of producer Amy Pascal, who left Sony, took Spider Man, and reinvented him. So Part 3 had better be off the charts wrapping up this era. All the elements are there to send this mini-generation’s Peter Parker out with a bang.

PS Yes, there’s a nice surprise at the end, after the credits. It’s a call back to the first “Spider Man” Movies, and in the press screening it was met with happy applause.

Beatles for Sale: New Movie “Yesterday” Had to Cough Up $5 Mil for Rights to 17 Songs from the Fab Four

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Even though Danny Boyle’s “Yesterday” has a 65 on Rotten Tomatoes, early audiences are loving it. The movie, written by Richard Curtis, supposes that through a film trick no one’s ever heard of the Beatles except the movie’s hero. He walks around singing their songs and becomes a huge star. Everyone thinks they’re his songs, from title track to “Hey Jude” and all the major hits.

The idea of this, which was corralled by Sony ATV Music Chairman Martin Bandier, was too good to pass up. He got Paul McCartney, Ringo Starr, Yoko Ono and Olivia Harrison to sign off on it. But Beatles songs are rarely heard in movies or commercials. When “Baby You’re a Rich Man” opened “The Social Network,” David Fincher and co. paid over $1 million for the rights just to that song. (I reported that.)

But in “Yesterday,” we’re not hearing the original Beatles master recordings. The Fab Four isn’t singing or playing. It’s the movie’s star, Himesh Patel, who sings them all right up to the end– 17 songs.

So what does it cost to hear Patel sing the Beatles? According to my sources, I can confirm that the total was between $4.5 million and $5 million. That’s a substantial part of the movie’s budget, which is why there are no stars (save for Kate McKinnon, who I consider a super star!) If the songs had been sung by the Beatles, the price would have been too high for any filmmaker.

Bandier’s deal with the filmmakers is a win win for the Beatles. Not only do their songs get new exposure to a younger crowd, but the Beatles’ original records are back on the charts. The group’s bestselling “1” album of hits is back on iTunes today at number 45. And that’s a win win for all of us, too!

 

 

New Beatles Music Film “Yesterday” Has Second Highest Crowd Scene in History, Second Only to “Gandhi”

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>Imagine a world in which after a cataclysmic event only one person remembers the Beatles?

That’s the premise of “Yesterday,” written by Richard Curtis and directed by Academy Award- winning director Danny Boyle (“Slumdog Millionaire”).

The charming star, newcomer Himesh Patel, plays a failed musician who, after a bike accident, finds he is the only person who remembers the Beatles and appropriates and performs their songs as his own and becomes a super star. (Lily James, Ed Sheerhan and Kate McKinnon, who steals every scene she’s in as a megalomaniac agent, also star.)

Patel, Curtis and Boyle participated in a Q&A after a screening of “Yesterday,” for patrons of Film at Lincoln Center Monday evening at the Walter Reade Theater.

Boyle told the audience, “What’s interesting is, it’s such a wonderful idea, that when Richard’s script arrived you don’t really think about the consequences a film based around someone singing 15 to 17 Beatles songs but not by the Beatles, by someone else. Which seems like a wonderful prospect, except when that when you start to get people in to audition you begin to think, ‘Oh my god, if this doesn’t work, if you don’t get the right person who can actually make you listen to the songs anew, you’re going to be dead, really. We saw lots and lots of people who were much better than Himesh,” he said, to laughter by the audience, “Honestly they were. But they weren’t as funny.”

Said Boyle, “Patel came in and sang ‘Yesterday,’ which we were sick of by then, because everybody chooses it, because it’s quite simple to master quickly and very touching, but he sang it and I had this reaction like it was his song and then the rational part of your brain is going, ’No, it’s not, it’s Paul McCartney’s song, so that duality is perfect for this role. And then he sang ‘Back in the USSR’ and I was bouncing around, which you’re not meant to do as a director in an audition. You’re meant to stay behind the desk or whatever, and I thought it had soul, really. We hadn’t seen that quality in anyone else so far.”

The screenwriter was asked: “So where did the ingenious concept for the story come from?”

“I was rung up by a friend of mine who said I’ve got this script, which has this, and he gave me the one sentence pitch: ‘There’s an unsuccessful musician who wakes up and finds he’s the only person who can remember The Beatles.”

Curtis told the audience he was so passionate about the Beatles that he told Jack Barth, the man who dreamed up the idea, to tell him no more. “Because I’d like to just write it from here.’ So slightly like Himesh’s character I feel I’m here on false pretenses. I was passionate about the Beatles when I was seven and I’m passionate about the Beatles now I’m 62,” he said. “So I developed the story from there, wrote the script and then by some kind of divine chance, the day I finished it Danny wrote to me about something completely different and then said, ‘If you’ve got anything in your bottom drawer do send it to me because I’m free for a week or two.’”

Ed Sheeran, who’s from Suffolk, has a sizable role playing himself in the film.

“The film is sort of about Ed, I mean he happens to be in it because Chris Martin wasn’t free,” said Curtis. “He was raised in the area shown in the film. Before he became famous he played on every corner. I remember him playing at the Ipswich Agricultural Fair but the lovely thing about Ed is he’s an adorable man, nicer than portrayed in the movie and he became very famous, gone all the way around the world, but he’s just married a girl he was a school with and he still lives in Framlingham.”

“Anyway, we did offer the part to Chris Martin first and he couldn’t do it because he said he was too busy,” said Boyle. But both he and Curtis told Sheeran, “Ed, you’re our first choice. Will you do it?’  And he said, “No I’m not, you’ve already offered it to Chris Martin.” He saw it on the pop star’s Facebook page.

Sheeran also said he’d heard the part had been offered to Harry Styles as well.

Boyle said, “And that was absolutely not true, we had not offered it to Harry Styles even though he was very good in the Chris Nolan movie…. Fortunately Ed did the part and it seems extraordinary now when we look back so much of it, of Himesh’s journey as Richard said, mirrors Ed’s journey in a way. It was bizarre that we should ever have thought of Chris Martin in the role.”

To get Sheeran onboard, Curtis said he arranged a meeting with the director.

“He hadn’t done his research so he knew Danny had made ‘Trainspotting’ and ‘Slumdog’ and then halfway through the meal he googled him, I remember, on his phone. He looked at me and went, “The Beach? 28 days later?” I went, “Yes.” And he realized that he had seen all of Danny’s films and it would be worth learning to act in order to be in a movie.”

As for the Beatles’ songs, how difficult was it to get access?

Said Boyle, “The producers of the film were Working Title, the largest, certainly the most successful production company in Britain, our only studio really although they work very closely with Universal here. They’d done a deal whereby we could get access and use of 15-18 of the songs from the catalog but that was it, we didn’t have to nominate the songs, they could be the famous ones or the less known ones. Which gave us a wonderful freedom in the preparing the film, the shooting and even the editing. We changed some songs quite late on and it was wonderful to have that flexibility…But yes they have to, obviously, they monitor the use of their songs very carefully so that they’re not misused in you know… reelection presidential campaigns or anything like that.

And If the movie had been about a serial killer who was very fond of the Beatles they probably would have said no quite early in the process, but they kind of tracked it bit-by-bit. I think the only advice we were given was to keep the… it was this sort of thing, they would say, ‘Try to keep the balance between Paul and John songs.’ And things like that, just a bit of nudging from time to time.”

The stand out scene in the end of the film, where Himesh performs a punk version of ‘Help,” required the participation of extras in the town said the director.

“We appealed to the local people that they’d come on that afternoon for us and 6,428 of them turned up, and when they heard the punk version they just bounced around, and it was the most amazing occasion for us all. It’s the largest crowd cast-call in the history of Britain. Unfortunately the world record is held by Gandhi’s funeral in Richard Attenborough’s ‘Gandhi,’ and 1 million people turned up for that crowd-call so we were a long way short of that.”

Broadway Summer Turns Nasty as “The Cher Show,” “King Kong,” “The Prom” Join Several Other Big Ticket Shows Unable to Make It

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Summer can be cruel on Broadway — especially if there are no Tony Awards in mid June for shows that are suffering at the box office.

First up is “The Cher Show,” which struggled all winter and spring. Receipts were never great. At one point Cher herself went on the promo war path. She gave Jimmy Fallon’s The Tonight Show a full hour. Nothing worked. “The Cher Show” will close in mid August. It will resurface one day in a slimmed down version where it belongs, in Las Vegas.

Also closing is “King Kong,” which cost millions, was dreadful, got no love from the Tonys and was slated to be captured and killed. Putting “King Kong” out of its misery is the sensible and humane thing to do.

Already announced closing is “The Prom,” a little musical that tried so hard. Ryan Murphy is making a film of it for Netflix, reportedly with Meryl Streep, Nicole Kidman, and James Corden.  I feel bad for the Tony-nominated cast including Beth Leavel. They will be swept away by big movie stars.

Gone in the last couple of weeks are all the Scott Rudin produced plays: “King Lear,” “Gary,” and “Hillary and Clinton.”

The Tony winning play “The Ferryman” is set to shut down soon. So is “Be More Chill,” another unloved musical from this season.

The scorecard for the 2018-19 season is pretty bad, overall. “My Fair Lady” at Lincoln Center will also take its final bow shortly.

Strangely enough, two holdovers are doing all right despite less than enthusiastic notices. “Pretty Woman” is coming up on its one year anniversary. And “Mean Girls” seems to be holding its own although I doubt many New York theatregoers realize it’s still playing from last season. Both shows are based on movies with big followings.

 

 

Best Part of All-Star Mueller “Investigation” Play: Watching Kevin Kline Loving John Lithgow’s Performance as Sincerely Befuddled Trump

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One thing the 17 actors on stage at Riverside Church couldn’t see last night as they performed Robert Schenkkan’s “The Investigation”: the looks on their faces as John Lithgow gave the most sublime performance as a befuddled, self-righteous Donald Trump. Lithgow delivered a tour de force at the reading, but everyone was face forward to the audience. I was very lucky to be sitting on the center aisle in the front row.

Kevin Kline, no slouch himself, started out earnestly as well as kind of a co-narrator with Annette Bening, and also as Robert Mueller. All the actors– all famous, top notch– looked a little scared when the reading began and were dead serious in their expression. But after a while, Lithgow’s committed performance began to crack their resolves. Kline was first, as tiny smirks began to appear on his stone face.

“I had to decide if Mueller himself ever laughed at Trump’s proclamations,” Oscar and Tony winner Kline told me after the show. “And I decided he had to.”

Lithgow told me he had just a couple of hours to ‘get’ his version of Trump. After all Alec Baldwin has cemented a certain Trump in our heads. And Lithgow just played Bill Clinton on Broadway. What was his take? “I didn’t want to make him seem so crazy,” Lithgow told me. Indeed, the actor’s serious take makes Trump seem even crazier. But that’s how the audience responds. Lithgow imbued him with a controlled hilarity, like a monkey about to break out of a cage.

Jason Alexander, who played a very jovial Chris Christie, also gave in. He had the double problem of being seated next to Joel Grey, whose reading of former Attorney General Jeff Sessions gave Kate McKinnon’s a run for her money. Grey’s unexpected dead pan Southern drawl was a thing to behold.

Producer David Permut explained to me how “The Investigation” came about. He and co-producer David Bender came up with the idea of dramatizing The Mueller Report three weeks ago. They called Schenkkan, who’d won a Tony for the LBJ Broadway play “All the Way,” and director Scott Ellis. Schenkkan read the Report, and in six days he distilled it into 10 small chapters that identified the keys points. They began calling actors.

Susan Disney, daughter of Roy Disney of that Disney family, backed with the show with her brother, Tim, and sister. Abigail. They were all there last night. Susan told me, “There was a study that said you can only give people ten points about something before you lose them. So that’s how it broke down.” Susan’s sister, Abigail, has been protesting the Disney company’s Bob Iger publicly, over many things, including his massive compensation. Susan told me she’s still very friendly with Iger but supports her sister. “We keep it separate,” she said. (I really liked the young Disneys!)

The person I most wanted to meet turned out to be just as great as I thought she would: Alyssa Milano. She came in for the reading and will be down in Miami tonight for the Democratic debate. Was she always so politicized, I asked? She’s become the new Jane Fonda of the internet, rallying supporters of #MeToo and for anti-Trump pro-choice common sense policies.

“Always,” she said. “I was like this years ago. But now,” she said, rolling her eyes, “everything’s more urgent. There are all these issues. We can’t let them go.”

 

The Scoop That Almost Was: What Happened the Day Michael Jackson Died Ten Years Ago, And How He’s Remembered Now

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June 25, 2009: TMZ’s scoopers in Beverly Hills spotted an ambulance at his rented pad on Sunset Boulevard. They reported Michael had had a heart attack. The word went out instantaneously. I was here at my desk. Earlier in the morning, I’d reported on rehearsals at the Staples Center from the night before, which wasn’t that long ago considering time zones. When I’d gone to sleep, Michael was in rehearsal.

What happened next remains a thorn in my side. I immediately — and I mean within nanoseconds– called Frank DiLeo, my good friend, and Michael’s manager. “Frank? Where are you?” I said when he picked up. “I’m with Michael,” he said, almost in a whisper. You can slow this conversation down in memory, but it was very fast when it happened. I remember thinking, OK, good, Michael’s alive, Frank is with him.

“What’s happening?” is what I said. “Did he have a heart attack?”

“No, no, he’s gone,” Frank replied. Gone. “What do you mean he’s gone?” I kind of shouted. “Frank, what are you saying?”

“Michael’s dead. I’m with him. I just closed his eyelids and kissed them. He’s gone.”

You understand, no one had reported this. No one had said this except for rumors. On June 25, 2009 this column was part of the Hollywood Reporter. A few weeks earlier I’d made a deal with them after being fired from Fox News. While Frank was talking, I was typing emails to Elizabeth Guider, then the editor of the Reporter. “Michael is dead,” I wrote to her. Frank and I were talking about who was in the hospital with him, where were the kids, where was Michael’s mother. “The kids are here,” Frank said. “They’re in another room. People are coming.”

My head was swirling since all we’d been through with Michael Jackson in the last decade. Starting in 1999, as Michael’s management, finances, and trials had all connected into a series of explosions worthy of a Hollywood war movie. Jackson was rehearsing for a summer of shows in London that no one expected him to fulfill. He’s just gotten rid of a predatory figure, “Dr.” Tohme Tohme, and brought back Frank, who brought back John Branca.

But back in the real world, the clock was ticking. Michael was dead. Elizabeth Guider wrote back: “Is he really dead? Or is he just brain dead? We can’t publish unless we know he’s really dead.”

I remember writing back: “He is most sincerely dead. Not coming back.”

She refused to publish it. She said, on the phone to me, “We don’t have to be first with this.” Oh really? Yes, we do. “Let someone else write it first.”

I wish I could find the emails. By then, it was gone. The moment to strike had passed.

Two days later I was on patio at the Four Seasons Hotel on Doheny Drive. with Frank, Randy Phillips of AEG Live, and Joel Katz. Randy had first told me he was trying to get Michael to do shows a year and a half earlier at the Ahmet Ertegun memorial concert in London that reunited Led Zeppelin. In the year to come, Randy would be dragged over the coals in lawsuits over Michael’s death, but I’d been following his quest for some time. He’d done everything for Michael, and then some. Joel was a long time friend of Jermaine Jackson, and Frank had recently brought him into the picture to help Michael with legalities.

We were all in shock. I’ve covered Michael’s life and miseries. But these guys — especially Frank– really loved him. They’d all invested a lot of time in keeping Michael alive and happy. As we sat there, we talked about Dr. Conrad Murray, about whom no one knew very much. Speaking of doctors, Randy said, look at this. He produced a bill from Dr. Arnold Klein, Michael’s in famous Dr. Feelgood and dermatologist. “It’s just one month and it’s 48 thousand dollars. He just sent it.” Meaning, since Michael had died.

It was just the beginning of what would be a chaotic couple of weeks. I reported the news about Michael’s 2002 Will first before anyone on June 26th. Two days later, there was controversy over whether that Will would be accepted by the family.  I’ve always felt, personally, that there was a more recent Will. It never surfaced. But it wouldn’t have made much of a difference. Michael would never have included his siblings in any version. He felt totally estranged and isolated from his family except for his kids and his mother.

On June 29th, the BET Awards were held at the Shrine Auditorium. The black music community in Los Angeles was reeling from Michael’s death. And then Michael’s father, Joseph Jackson, who’d caused him so much pain in his lifetime, showed up with a Jackson imitator. I followed them around. Mr. Jackson was in his glory, talking to everyone, showing off, finally getting to be the center of attention. In his posse was someone I’d known a long time: Marshall Thompson, from the R&B group The Chi-Lites. He’d somehow become Joseph’s Ed McMahon. I was a scene.

In the days to come I wrote about Katherine Jackson being named guardian of the kids, that AEG had 100 hours of rehearsal footage– enough to make the movie “This is It,” and so on. Those scoops I did not entrust to others, who may have been brain dead themselves.

In 2003 when Michael was arrested for child molestation and conspiracy, I had become a sort of Jackson expert. The child molestation charge had been following him around for a decade or more, kicking into gear with the Jordan Chandler settlement. In February 2003, Martin Bashir cut a documentary with the Arvizo kids present at Neverland to make Michael look very bad. I wrote, after seeing it, that he’d be going to jail. In time we’d learn that the Arvizo’s were grifters who’d set Michael up. But the damage was done. He was acquitted in a trial that would have decimated even the strongest person.

I sat through a long trial. I broke a lot of stories in those years. I knew a lot about the two young men who posthumously accused Michael of sex crimes. I don’t believe them. I do think Michael’s behavior with children was wrong, and that he bought off the parents of many kids to surround himself with surrogate families. This argument is for another story. But today, celebrate his music if not his life choices.

And PS this is a tribute to Frank DiLeo, pictured above, who was a great guy with a complicated life. He loved Michael and took care very good care of him. There isn’t a day that goes by when I don’t talk to Frank in my head. I so wish he were still here.