Michael

When a Film Becomes Memory, Music, and Something Personal

There are films you watch.

And then there are films that take you somewhere you didn’t expect to go.

Michael did that to me tonight.

I walked into a near-empty auditorium for a midnight preview—barely ten of us scattered across seats—and yet, from the very first beat of “Wanna Be Startin’ Somethin’”, I wasn’t in that theatre anymore.

I was a child again.

The First Time I Met Michael

My earliest memory of Michael Jackson isn’t from a concert or a cassette—it was from television. Someone else’s house. Early 1980s. The first time I ever saw MTV.

And there he was.

Thriller.

I didn’t have the language for what I was seeing, but I knew I was witnessing something… otherworldly. Something that didn’t belong to just music—it belonged to movement, to imagination, to rhythm that travelled straight into your bones.

As I grew up, his music grew with me—

Beat It,

Bad,

Smooth Criminal,

Billie Jean,

and so many more.

And then, in college, I began to understand the man behind the music.

We Are the World wasn’t just a song.

Heal the World wasn’t just melody.

Earth Song and

They Don’t Care About Us weren’t just performances.

They were statements.

He wasn’t just entertaining us—he was speaking to us.

The Film: A Performance Recreated, Almost Too Perfectly

Walking into Michael, I had one hope—that it would do justice to someone who didn’t just define pop culture, but reshaped it.

And surprisingly, it does.

Jaafar Jackson—his own nephew—steps into the role with a kind of precision that is almost unsettling. The voice, the pauses, the body language, the stillness before movement—it’s all there.

At moments, it doesn’t feel like imitation.

It feels like invocation.

The recreations of iconic performances—Thriller, Beat It, his early Grammy stage, the London performances of Bad—are electric. Even in a nearly empty theatre, the energy felt full. Charged.

And yet, I couldn’t help but feel a quiet sadness.

How is a story like this… not filling seats?

How did we forget what global cultural history looks like when it stands right in front of it?

The Parts That Stayed With Me

There were moments I didn’t expect to be affected by.

One of them was the infamous Pepsi commercial accident—the burns, the pain, the shock. I had heard about it before, but the film brings you uncomfortably close to it. Close enough to feel the fragility behind the myth.

But what truly stayed with me was something far more personal.

His childhood.

His father.

The abuse.

There’s a moment where he asks others—lawyers, executives—to speak to his father on his behalf. And I understood that immediately.

Because I’ve lived that.

When you grow up with fear, with authority that crushes rather than guides, you don’t always find your voice directly. Sometimes, you borrow someone else’s.

Watching that wasn’t just watching Michael.

It was watching a version of myself I’ve known too well.

The Mother, The Apology… and What It Opened in Me

There is a scene where his mother says something I have never heard in my own life:

“I’m sorry I couldn’t protect you.”

And in that moment, something shifted inside me.

Because I realised—that absence of apology leaves a mark.

A quiet, persistent fracture.

It made me confront something I still carry. Not anger alone, but the weight of something that was never acknowledged.

This is what powerful cinema does.

It doesn’t just tell a story.

It reveals your own.

The Man Behind the Myth

The film also leans heavily into Michael’s gentleness—his love for animals, his childlike wonder, the softness that existed alongside his genius. His closeness to Barrie’s Peter Pan and the idea of Neverland. Guess what I have tattooed on my left arm. Tinker bell and Peter Pan soaring through the sky in silhouette.

At times, it feels almost too kind. Almost protective. There’s a noticeable absence of anything that might complicate his image.

Is it whitewashing?

Perhaps.

But it also raises a question—what if this was him, at his core?

And if it was, then the world didn’t just lose an artist.

It lost something far rarer.

Direction, Rhythm, and Restraint

From a filmmaking perspective, Michael understands balance.

It doesn’t drown you in music, nor does it strip it away. It moves between performance and personal life with a rhythm that feels intentional. The edits are sharp, the pacing controlled, and the emotional beats are given just enough space to land.

And importantly—it knows when to stop.

The film ends with his London performances, with a quiet suggestion:

His story continues.

And I hope it does.

Because there is so much more left to explore.

Final Thoughts

I walked into the theatre expecting a biopic.

I walked out having revisited my childhood, my relationship with music, and parts of myself I usually sit with.

Michael isn’t perfect.

But it is sincere.

It is immersive.

And at times, deeply, unexpectedly personal.

And perhaps the saddest part of the night wasn’t anything in the film—

It was how few people were there to witness it.

Still Here

I didn’t expect a video game to undo me today.

I was just drifting—scrolling through my PS5 library like I’ve been doing with everything else in my life lately. Looking without really looking. Nothing holding. Nothing landing. And then I opened Assassin’s Creed Odyssey. Not because I wanted to play it—just because it was there. Habit. Muscle memory.

The moment my character started walking through the forest, something inside me cracked.

It wasn’t the game.

It was the recognition.

That feeling of stepping into a version of my life that doesn’t exist anymore.

When I checked the save file, it said May 2025.

And I just broke down.

Because that was a time when Zack and Xena were alive. When my world, however imperfect, was still whole in ways it will never be again.

I couldn’t overwrite it.

I physically couldn’t.

It felt like killing something that was already dead. Like I would be complicit in erasing proof that that life ever happened. So I didn’t. I made a new save. Left that one untouched. Preserved. Frozen. Like grief does.

Not in a dignified, poetic way. There was nothing graceful about it. It was ugly. It was helpless. It was that kind of crying where your chest actually hurts and you don’t even know what exactly you’re crying for anymore because it’s everything.

After that I went looking for her.

Goodie Pua.

Instagram first. Then Facebook. Scrolling like if I just kept going I might find something I’d missed. Some version of her that still exists somewhere. I found a photograph I love. One I’ve seen before. It didn’t matter. I held onto it like it was new.

And then a song came into my head. 

Mohammed Rafi singing “Waqt Se Din Aur Raat.”

And that was it.

Because today is the 19th.

The day she passed. 

Five years.

Five years and I still can’t accept that she’s just… gone. That all of them are just… gone.

What am I supposed to do with that?

What does anyone do with that?

People talk about grief like it’s something you process, something that moves, something that softens.

It doesn’t.

It just builds.

It layers.

It waits.

And then it hits you in moments like this—when you’re doing something completely meaningless, and suddenly you’re not in your life anymore. You’re standing in all the lives you’ve lost at once.

Pua.  

Zack.  

Xena.  

Do you know what it feels like to carry that many ghosts?

Because I do.

And I’m tired.

I’m so tired of being the one who survives everything.

There’s something deeply unfair about it. About watching everyone you love leave—whether through death or distance or whatever cruel mechanism life chooses—and you’re just… still here.

Still expected to function. To eat. To talk. To show up. To carry on like this is normal.

It’s not normal.

It’s not okay.

And I’m not okay with it.

When Christina waved at me from the car today, I waved back. And in that exact moment, something inside me just… dropped.

Because I’ve lived that wave before.

I’ve lived the kind that ends everything.

And my body remembers it, even when I don’t want to.

That’s the thing no one tells you—your body keeps score in ways your mind can’t control. A simple goodbye isn’t simple anymore. It’s loaded. It’s dangerous. It’s a reminder of how quickly everything can be taken.

And then I start thinking—

What is the point of any of this?

Where is this going?

How much more loss is waiting for me?

Because it feels endless.

And I don’t have some beautiful, hopeful answer.

If I’m being completely honest—the only reason I’m still here is Zuri.

That’s it.

Not purpose. Not passion. Not some belief in life getting better.

Just her.

Because she needs me.

Because I know how to love her in a way that feels right. In a way that feels like the only thing I haven’t completely failed at.

And even as I say that, there’s this voice in my head that says—

“Maybe even she will be fine without you.”

And that thought… that thought is brutal.

Because it makes everything feel even smaller. Even more pointless. Like I’m holding on for something that may not even need me the way I need it.

But then there’s this other truth. One I don’t even understand myself.

I always come back.

I don’t know how.

I don’t know why.

I don’t even feel like I want to sometimes.

But I do.

Every time I’ve hit this place—where everything feels meaningless, where the weight feels unbearable, where I genuinely don’t see the point—I still somehow find myself waking up the next day. Breathing. Moving. Existing.

Not healed.

Not better.

Just… still here.

And I don’t know if that’s strength or habit or just survival instinct refusing to let go.

Maybe it doesn’t matter.

Maybe this isn’t a story about healing.

Maybe it’s just the truth of what it is to live like this—

Carrying too much.  

Remembering too much.  

Losing too much.  

And still, somehow, being forced to continue.

Today isn’t a lesson.

There’s no meaning I can tie this into to make it easier to hold.

It’s just grief.

Raw. Heavy. Unresolved.

A song I didn’t choose.  

A memory I couldn’t escape.  

A save file I couldn’t overwrite.  

And the most uncomfortable truth of all—

That even now, even like this,

I am still here.

I Still Love

I was sitting in therapy today when my therapist, Adriana, said something that felt both obvious and completely foreign at the same time:

I need to tell myself that I am a good person. As many times as it takes for me to believe it myself. 

Not because people around me say it. In fact, despite the fact that most people I love, don’t. But because of the life I have lived, the choices I have made, and the way I have continued to show up in a world that has rarely shown up for me in return.

And I realised how difficult that is for me to say.

Because somewhere along the way, I stopped seeing myself clearly.

I grew up in Bandra, sitting in my grandmother’s reclining chair on the balcony, looking up at the sky. There were always kites flying — small, distant, free. I remember feeling a strange kind of peace watching them. As if, for a few moments, life was simple and untouched.

Those moments mattered more than I understood at the time.

Because inside the house, things were not simple.

My father was an alcoholic. Violent. Unpredictable. He would beat walls, throw food across rooms, carry rage like it was his second skin. Later, he admitted that he knew I was gay since I was two. I don’t know what that did to him, but I know what it did to me.

It made me a target.

What protected me in those early years was not him, and not even really my mother — it was the other women around me. My grandmother. My aunt. My nanny. Their presence softened the fear.

And then my mother chose to leave that house.

Not just to escape him, but because she felt suffocated being given one room, in my grandmother’s home. We were four of us in that room at night. Ironic, because she is now in quite a similar situation, minus one body count. So, she moved us to a place that was, in every sense, worse. And eventually, she attempted a reconciliation with my father.

That decision changed everything.

Because now I was alone with him.

Afternoons stretched into something I dreaded. I was already being bullied in school. Boys didn’t accept me. Girls laughed at me. I was effeminate, visible, and completely unprotected.

At home, there was bullying.

At school, there was bullying.

And in between, there was silence.

I remember collapsing once on the stairs because the anxiety of going to school had become too much. A neighbour found me and brought me home. And instead of concern, what I heard was that I was pretending. Acting. Avoiding responsibility.

No one asked what was wrong.

No one tried to understand.

I found refuge where I could.

In books. In imagination. In the idea that somewhere out there was a man who would love me for exactly who I was. I held on to that belief like it would save me.

And for a long time, I was a romantic.

Not in a naïve way, but in a hopeful one.

I believed in love. I believed in honesty. I believed that if you gave the world your truth, it would meet you somewhere close to that.

But life doesn’t work like that.

By the time I was 18 or 19, my father nearly killed me. That was when my mother finally left him. Not during the years of violence. Not during the years of fear. But then.

And something in me shifted.

I grew up. I loved for the first time. But I was dispensable, even in love. My heart had a catastrophic break at the age of 21. I came close to ending it all then. I didn’t.

Later, I fell in love again with another man. Five years in, my heart broke. But I stayed. I didn’t run. I took that in my stride because love, to me, was not conditional.

Thirteen years in, I discovered he had been cheating on me physically with others while travelling.

That was the death of something inside me.

Not just trust. Not just love.

But the version of me that believed love would be enough.

I tried again.

I entered a polyamorous relationship, thinking perhaps the rules needed to change for love to survive. But that, too, left me hurt in ways I hadn’t anticipated.

Around the same time, I began losing the people who had once protected me.

My aunts — the ones who had stood between me and the worst parts of my childhood — started slipping away. One of them died in a way that still feels like she was taken from my hands while I was trying to hold on.

And then there were my dogs. My kids.

Seven of them over the years.

Six gone now.

Two of them just this year — January and March.

Each loss not just grief, but a tearing. A reminder that love, no matter how pure, does not protect you from endings.

And through all of this, I continued to show up.

For my mother. For my family. For the people in my life.

Not perfectly. But honestly.

I didn’t chase money. I didn’t chase status. I didn’t want big cars or bigger homes. I wasn’t interested in building a life that looked impressive from the outside but felt empty on the inside.

I wanted something real.

Something kind.

Something that felt like those moments on the balcony, watching kites in the sky.

And yet, today, my mother sits in front of me and tells me that I am not loving enough.

That I have changed.

But she is wrong.

I have not changed.

I may no longer be the 15-year-old boy who absorbed everything quietly. But I was never someone who accepted what was given to me without question. I was never willing to be the emotional ground on which everyone else stands while I collapse underneath.

I learned to say no even to my father — knowing I would be beaten for it.

I learned to call things out early. In the 8th standard, I stood up in class and told a teacher, “I am not a girl.” In college, when a bully asked me if I was gay, I looked at him and said, “Are you asking me out?” In front of a laughing crowd.

That strength was always there.

She just never saw it.

She didn’t know me then. She doesn’t know me now.

And now, when I stand up to behaviour in her that mirrors my father —

She calls it rejection.

There is love for her inside me.

But there is also resentment.

Because she still does not see me.

She remembers a version of me that was “loving and happy” — but she does not acknowledge the fear, the violence, the loneliness, the confusion. She does not remember what it took for me to survive those years.

Or perhaps she chooses not to.

And I cannot keep trying to make her see what she refuses to look at.

I reached a point recently where I told her I don’t care anymore.

And I meant it.

Not out of cruelty. Not out of anger.

But out of exhaustion.

There is only so much a person can carry before something inside them shuts down to survive.

And that is where I am.

In therapy today, I said something that has been true for most of my life:

No one has ever held my hand and said, “I understand. That must have been so difficult for you.”

Not my family. Not my friends. Not the men I have loved.

No one.

Except my therapist.

And maybe that’s why it hit me so hard when she said I need to tell myself that I am a good person.

Because I have spent a lifetime waiting for someone else to say it — and mean it.

So here it is.

Not as a declaration. Not as a performance.

But as something I am trying to learn to believe:

I am a good person.

Not because I was perfect.

But because I stayed honest in a life that constantly pushed me towards silence.

Because I loved, even when love cost me.

Because I survived things that could have easily destroyed me.

Because I am still here.

And because, finally, I am learning that saying no does not make me less loving.

It means I am no longer abandoning myself.

Maybe the world is not designed for people like me.

Or maybe I was never meant to bend myself to fit the world.

Maybe the point is simpler than that.

To see myself clearly.

To stand by that truth.

And to protect whatever goodness still lives inside me — not by giving it away endlessly, but by finally holding it close.