Michael Jackson's new biopic is breaking box office records despite the controversy

A new biopic about Michael Jackson is making waves-not just for its storytelling, but for its staggering box office performance. In its opening weekend, the film pulled in $217 million globally, including $97 million from North America, setting a new record for the biggest debut ever for a biopic. The numbers come despite lukewarm critical reception and a production marked by delays and controversy.

The film, simply titled Michael, traces Jackson's rise from child star to global pop phenomenon. It leans heavily on his music, choreography, and visual style, recreating iconic moments like the moonwalk at Motown 25 and the release of Thriller. But it has drawn sharp criticism for how it addresses, or in some cases avoids, the serious allegations of child sexual abuse that followed Jackson for decades.

Reviewers from outlets like The Guardian and BBC have noted that while the film is visually striking and musically rich, it offers little depth when it comes to Jackson's personal life, especially the accusations that led to two major investigations during his lifetime. The 2019 documentary Leaving Neverland, which featured detailed accounts from two men who said Jackson abused them as children, is referenced only indirectly, if at all.

Still, audiences appear undeterred. Theater chains reported packed houses over the weekend, with fans-especially older millennials and Gen Xers-turning out in large numbers. Some say they're drawn by nostalgia, others by curiosity. "I don't excuse anything if it's true," said one viewer in Chicago, "but I also remember how his music made me feel. That part of him still matters to me."

The film's success raises familiar questions about how society engages with the legacies of beloved but problematic figures. Can admiration for art exist alongside condemnation of behavior? And when does telling a story become sanitizing it? These debates aren't new, but they feel especially sharp now, as studios increasingly tackle the lives of artists with complex, sometimes troubling histories.

Some cultural critics argue that the film's financial triumph reflects a broader discomfort with moral ambiguity. "We want our icons to be simple," said one media analyst. "Either saints or villains. But Jackson was neither. The movie doesn't seem to know what to do with that."

For now, the box office speaks louder than the reviews. Whether the conversation shifts in the coming weeks-or whether the film gains traction during awards season-will depend on how audiences continue to process not just the music, but the man behind it.