It’s the nightmare scenario for movie producers, right? You
spend years assembling your project, convincing an Oscar-nominated screenwriter to tackle difficult material. You secure the necessary I.P. rights and the massive, $150 million budget to tell the story right. You get distributors on board—both foreign and domestic—and a starry cast whose schedules barely align. You spend months shooting the entire movie, mostly on location at the exact sites you envisioned (some of which you had to beg to secure). Then, as you’re starting
postproduction, with your director cutting it all together to meet your aggressive release date, the phone rings, and everything begins to fall apart.

That’s basically what just happened to Graham King, the lead producer of Michael, the big-budget Michael Jackson movie directed by Antoine Fuqua (Training Day), written by John
Logan (Gladiator), and starring Miles Teller, Colman Domingo, Nia Long, and Jackson’s nephew Jaafar Jackson as the King of Pop himself. Lionsgate, which is distributing Michael in the U.S., announced in November that the film was being delayed from April until at least October. What the studio didn’t say was why—and man, the real story here is a wild one.

First, if you recall, I wrote about this movie last April. Someone slipped me the script, and as I read it, I was surprised by how aggressively the project sought to change the narrative on Jackson’s, uh, complicated legacy. Michael’s famously protective estate and its executors, John Branca and
John McClain, are involved in this movie, so I knew it wasn’t exactly gonna be a no-holds-barred exploration of the pedophilia allegations that first arose in the ’90s. (Jackson and his estate have always denied the claims, and he was prosecuted in 2005 but never convicted of any crimes.)

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But this movie is different from other Jackson-related media
that has appeared in the years since his 2009 death, at age 50, from a drug overdose. While the estate-approved Cirque du Soleil shows and the hit Broadway musical, MJ, all but ignore the child accusers and focus on Jackson’s public persona and his incredible music, this movie addresses them head-on. Michael, as I wrote, “directly engages with the allegations against Jackson. And it not only engages, it wants very much to convince you Michael is innocent.”

That engagement has turned out to be a major problem for everyone involved. Here’s why: The script begins and ends during the 1993 investigation into statements about Jackson’s anatomy made by Jordan Chandler, the then-13-year-old boy whose molestation claim led to worldwide headlines and an eventual $20 million settlement. The script depicts Jackson as the naïve victim of the money-grubbing
Chandlers, whose unfounded claims force Jackson to endure ridicule and persecution until he ultimately settles, his resolve and reputation forever in tatters.

The film’s third act, in particular, hinges specifically on the impact of the Chandler circus. In the script I read—which I’m told was close to final, but obviously these things are often revised—a tense sequence involves Branca (Teller),
Johnnie Cochran (Derek Luke), and other Jackson lawyers discussing whether to pay off Chandler and his family. At one point, the lawyers play the infamous recording, submitted in court, of Jordan’s father threatening to leverage his son’s accusations to “destroy” his ex-wife and Jackson’s career. The ensuing scenes dramatize the extensive police investigation, including a “traumatizing” strip search of Michael that scars him for life.

The problem? Years before signing off on the Michael movie with the Chandlers featured in the script, Jackson’s team agreed they would never include the family in any such movie. Yes, according to two sources, there’s a signed agreement with the Chandlers prohibiting any dramatization of them or their stories. Ouch. That deal, which was overlooked by the estate during the vetting of the script, has now rendered the
planned storyline and several key scenes that were shot unusable. Like I said, a nightmare. (Several attempts to reach Branca and the Jackson estate’s lead litigator, Jonathan Steinsapir, were unsuccessful.)

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That’s what King, Fuqua, and Logan have been trying to figure
out for weeks now. After a rewrite, the filmmakers are set to give Lionsgate a revised script and shooting strategy for approval as early as this week. Universal, which is distributing overseas, must also sign off on the changes—or bail on the project entirely, if the studio chooses. (Both Lionsgate and Universal declined to comment.) Even before this problem emerged, the estate had agreed to fund any reshoots; it will now cover the costs of the additional photography necessary to complete a
new, legally kosher version of the film. A huge expense, of course, but remember, thanks to Branca, the estate has generated an estimated $3 billion in revenue since Jackson died, including last year’s massive $600 million sale of half of Jackson’s music catalog to Sony.  

King, who declined to talk to me, is said to be confident that his team can fix the movie. He’s booked soundstages for March and informed key cast and crew of the need to
reconvene. A source at Lionsgate is similarly hopeful that King can resolve the issues in time to hit that October release date. (Universal has a jam-packed 2026 slate, so there aren’t many dates to put Michael if further delays are needed.)   

The good news, according to everyone I spoke with, is that the usable footage they do have is impressive. Jackson’s nephew delivers as Michael, and
the musical sequences play big, like something you’d want to watch in Imax. Time after time, Jackson’s millions of fans have chosen to celebrate his music and larger-than-life persona—and ignore the allegations that consumed the final third of his life. So I’m betting Michael, if it ultimately pleases the fans, will be a global hit in the vein of King’s Bohemian Rhapsody, and nobody in the real world will care about any of these extraordinary behind-the-scenes problems. That
is, of course, if the movie is actually released.