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On February 7 2019, the estate of Michael Jackson sent a strongly worded letter to HBO CEO Richard Plepler, followed by another a couple of days later to Channel 4 CEO Alex Mahon.

The names known to history echo loud and long Robin White, Emmett Till, Charlie Weems, Ozie Powell, Clarence Norris, Andrew and Leroy Wright, Olen Montgomery, Willie Anderson, Haywood Patterson, Eugene Williams (the latter nine known collectively as The Scottsboro Boys) to contemporary names such as Vincent Patton, still serving time in Angola Prison despite the fact that his white accuser later confessed that all black men look alike to her and therefore she could not even say with certainty that Patton had raped her.

And these cases do not even begin to include the many whose names have long been lost to history; those who paid the ultimate price for the paranoid fears of a Jim Crow-era America.

We currently live in a world of fake news and alternative facts, wrote Martinzie Johnson in an excellent think piece titled Being Black in a World Where White Lies Matter.

Martinzie then states, white lies have tangible consequences.

Martinizie wrote this piece a few days after a bombshell confession by Carolyn Bryant, the young white woman whose accusation of Emmett Till fifty-two years prior resulted in the 14-year-old boy being kidnapped from his uncles home and murdered by her husband and brother-in-law.

It took half a century for Bryant to finally admit to biographer Timothy B.

Tyson thatnothing that boy did justified what was done to him.

The current hype that has been built around Leaving Neverland, a film directed by Dan Reed and funded and distributed by HBO in the U.S.

Channel 4 in the U.K., may appear deceptively at first as an important film for the MeToo era, highlighting the alleged sexual abuse that Michael Jackson inflicted on two young boys who idolized him and fell-by grand and parental design-into his circle.

At least, that is according to the hype that has been drummed up around it.

Instead, there are many justifiable reasons to argue why this film is simply a new twist on the age-old concept of lynching a black man based on white lies.

The fact that it is a black man who also just happened to be one of the most beloved and powerful figures in entertainment is, of course, the very matter at the heart of the films controversy, along with the fact that we are into the tenth anniversary of his passing.

Why is the woke crowd so determinedly asleep at the wheel on this And an even more troubling question: Why are so many of the most influential journalists in the U.S.

U.K. enabling it Dan Reeds controversial film has indeed accomplished one positive goal even before its scheduled broadcast, although it may not be the goal he intended.

For sure, the film has helped shed much needed light on the underbelly of MeToo, revealing some startlingly dark truths about who the movement is designed to protect-and who it is willing to sacrifice.

But first, lets back up and look at the key players in this drama.

We have Michael Jackson, whose story has already passed into the realm of an American mythical figure, a poor black kid who worked his way up from nothing to become one of the most legendary musical figures of all time.

This was a man who worked non-stop from the age of five to build his legacy.

In the 45 years of his life that he gave to the public, he managed to break records, to achieve what few black artists before him had done (including owning, at one time, half the Sony-ATV catalogue), and to build a legacy that is intricately woven into the fabric of U.S.

But beyond that, he became a world icon in a way that only a very few American artists have achieved.

This is all a long way of saying Michael Jackson worked hard damn hard to build what he achieved.

And before we start trying to dismantle that legacy based on nothing but the words of two white men who joined his long list of hangers-on, wed better be looking long and hard at the facts.

That is, if we want to be able to live with ourselves in the aftermath.

Most who have already followed the story to any degree are already at least superficially aware that there are inherent issues with the claims of Wade Robson and James Safechuck, the two subjects of this documentary.

It is widely known, for instance, that Wade Robson-as a 23-year-old adult- testified in Jacksons defense at his 2005 trial, swearing under oath and penalty of perjury that nothing sexual ever happened between them.

But the inconsistencies, as well as problematic and ever changing timelines in their stories, goes much deeper.

Silence Blindside Rar