Your favorite podcasting duo is back! Jared and Jordana of the U Up? podcast are heading out on a national tour, and they’re hitting more cities than ever before. Tickets are now on sale for 20 shows across the country, so you can finally submit your friends for the dating app makeover they desperately need. If you’re a U Up? super-fan, there are also a limited number of VIP tickets available in each city.
Here’s what you’ll get if you go VIP:
– A premium reserved seat
– Exclusive meet & greet with Jordana & Jared
– Personal photograph with Jordana & Jared
– Intimate VIP conversation with J & J
– Exclusive VIP U Up? tour merchandise item
– Commemorative VIP pass
Just announced, U Up? Live will be in New York City on November 8th as part of the New York Comedy Festival. Click here to get your tickets to the show at Town Hall, because you won’t want to miss it.
Tickets are on sale now for all 21 shows. Check out the list of dates below, and get your tickets while you still can.
WED, AUG 14 — Chicago, IL — Vic Theatre
THU, AUG 15 — Detroit, MI — Garden Theater
FRI, AUG 16 — Cleveland, OH — Agora Theatre
SAT, AUG 17 — Toronto, ON — Queen Elizabeth Theatre
THU, OCT 10 — Miami, FL — Miami Improv
FRI, OCT 11 — Orlando, FL — The Plaza Live
SAT, OCT 12 — Atlanta, GA — Buckhead Theatre
SUN, OCT 13 — Nashville, TN — James K. Polk Theater
MON, NOV 04 — Washington, DC — Lincoln Theatre (DC VIP Upgrade)
TUE, NOV 05 — Boston, MA — The Wilbur
WED, NOV 06 — Philadelphia, PA — Franklin Music Hall
FRI, NOV 08 — New York, NY — Town Hall (part of New York Comedy Festival)
TUE, DEC 03 — Los Angeles, CA — Theatre at Ace Hotel
WED, DEC 04 — San Francisco, CA — Palace of Fine Arts
THU, DEC 05 — Portland, OR — Aladdin Theater
FRI, DEC 06 — Seattle, WA — The Neptune Theatre
SAT, DEC 07 — Vancouver, BC — Vogue Theatre
TUE, DEC 10 — Phoenix, AZ — Stand Up Live
WED, DEC 11 — Houston, TX — White Oak Music Hall
THU, DEC 12 — Dallas, TX — Texas Theatre
In the past 48 hours, I watched the entirety of Leaving Neverland, director Dan Reed’s two-part, four-hour documentary about two men who claim to have suffered sexual abuse as children, and how they grapple with that trauma to this day. To say I have an emotional hangover would be an understatement—I am sad in ways I didn’t know I could be. While sob-emoji texting my friends, though, I noticed a pattern. When someone hadn’t heard of Leaving Neverland, I clarified: I was watching “the Michael Jackson documentary.” And it’s true—the man accused of sexual abuse in this doc is Michael Jackson, and “Neverland” in the title refers to Jackson’s 2,800-acre ranch, where he allegedly abused an unknown number of prepubescent boys in the ‘90s and 2000s. But having seen the film, I bristle at the idea that this is a Michael Jackson documentary. This is a documentary about child sexual abuse.
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Leaving Neverland premieres tomorrow night, 8pm on HBO. The two-part documentary explores the separate but parallel experiences of James Safechuck and Wade Robson, who were befriended by Michael Jackson when they were just 10 and 7 years old, respectively. We are glad to be among the network of organizations (@1in6org, @rainn, @childhood.usa, @d2lorg, MOSAC, @safehorizon, @itsonus, @worldchildhoodfoundation) who contributed to the viewing support guide, produced by @HBO. Before watching, please consider reading the guide (the link is in our bio) and creating a personal care plan. Regardless of where you stand, this is an important topic that deserves our attention. We need to talk about men as survivors of sexual abuse. We need to talk about child sexual abuse, grooming, and trauma. We need to show up for each other. #disruptsexualviolence #endsexualabuse #believesurvivors #leavingneverland
Wade Robson and James Safechuck are the two men who tell their stories in Leaving Neverland. Both are indisputably connected to Jackson: Safechuck appeared in a Pepsi commercial with him at the age of 8, and Robson met him at age 5 in Australia, after winning a dance competition. Jackson took a special liking to Safechuck and Robson, and both boys’ relationships with the singer went down similar paths. Jackson would invite the boys’ families on trips, paying for their transportation and lodging, and opening up a world of fame and money they’d never seen before. He told the boys’ mothers that their children were special, that he loved them, and he wanted to help their careers. He said he saw himself in them—and these mothers, dazzled with the vision of raising the next Michael Jackson, struggled to deny Jackson anything.
What Jackson wanted was extended, unsupervised time with their young children. While Robson and Safechuck’s mothers were brought along for many visits to Neverland, they slept in a separate house, and allowed their children to share a bed with Jackson. Safechuck accompanied Jackson on tour; Robson was left alone at Neverland for days at a time. In a 2005 trial for Jackson’s alleged assault of a different 13-year-old boy, it came to light that Jackson would call Robson’s mother at 1am, saying he needed to see Wade right away. Joy Robson (Wade’s mother) would drive him there promptly, and send him straight to Jackson’s bedroom. At the time, the boys insisted that they loved Michael, and he loved them. It wasn’t until they had children of their own that they were able to see the sexual experiences they describe with Jackson—and they describe many—as abuse.
It takes days to recover from this documentary. Five minutes in you will think to yourself “oh my God, every word they are saying is true.” https://t.co/JMoA6Y0dEo
— Judd Apatow (@JuddApatow) March 2, 2019
In this moment, it feels surreal to report on these men’s stories of sexual abuse and name the abuser as Michael Jackson. Beyond the shock of hearing these accusations about any beloved celebrity, it feels surreal to name him now because the film focuses so little on the figure of Michael Jackson himself. When you hear “Michael Jackson documentary,” even knowing it’s about allegations of sexual abuse, you expect the film to take on Jackson’s legacy. You expect Jackson to be presented first as an icon: to hear Jackson’s music, or accounts of his persona and cultural impact. Maybe a narrator hyping up how adored he was, before smashing down the hammer of these accusations. But Leaving Neverland does nothing of the sort.
Instead, Leaving Neverland addresses Jackson’s celebrity only in the context of the effect it had on Robson, Safechuck, and their families. It’s important to these stories of sexual abuse to know that Jackson was famous and powerful, because that status informed the parents’ decisions to give him that access to their sons. Similarly, it’s important to hear about how Robson and Safechuck personally admired him: his impact on them as a performer, before they ever met, informed how ecstatic they were when he showed an interest in them; how predisposed they were to admire him and want him in their lives.
As a former child actress, I can’t help but watch this documentary and think about how wrong it is for children to be put in the position of performing for the soul purpose of pleasing adults. It’s such a slippery, dangerous, often abusive slope. #LeavingNeverland
— Amber Tamblyn (@ambertamblyn) March 4, 2019
Even clips of Jackson’s performances, or screaming fans, are limited to instances that highlight the trauma it caused to these men. The swarming fans attending Jackson’s tour compounded Safechuck’s sense of being overwhelmed and alone. The line of protesters attending Jackson’s trial played on Robson’s sense of obligation to protect his friend. Leaving Neverland never gives us those images solely to show us that Jackson was beloved, and thus entirely avoids the expected structure for a documentary accused of being “posthumous character assassination.” If Reed’s intention had been (primarily) to shatter the world’s impression of Michael Jackson, I would have expected to first be shown what that impression is—then see it darkly juxtaposed with these men’s stories. Neverland doesn’t feel like the dismantling of a celebrity’s reputation. It feels like two deeply personal accounts of childhood trauma in which their abuser happened to be famous.
#LeavingNeverland isn't about the spider or the fly. It is about the web.
Listen to survivors. Learn about grooming. Understand that victims have complex feelings. Share 800-4-A-CHILD or 800.656.HOPE! Promote help. pic.twitter.com/2JOxWlDI3y
— Jenn (@8675309Carson) March 4, 2019
Of course, the fact that Leaving Neverland doesn’t explicitly state “here’s proof that Michael Jackson was a child molester” won’t do much to change people’s reactions to the film. Those determined to believe in Jackson’s innocence will do so anyway (though I struggle to understand how, if they take the time to watch the film). And those who believe the stories of Robson and Safechuck will effectively have any lingering fond doubts extinguished. Nonetheless, I think it’s an important and correct choice that Reed focused the film so tightly on these two men and their stories.
Painful as it is for Robson and Safechuck to continue seeing Michael Jackson celebrated, they didn’t strike me as crusaders for his worldwide vilification. They struck me as two men still actively, painfully grappling with the trauma they suffered as children, talking through both what happened and how they behaved in the wake of it. What Leaving Neverland does best, in my opinion, is provide a road map for how this type of abuse can affect people through adulthood, and shed some light on why it’s so difficult for child victims to come forward. And frankly, that’s a much more important story than whether or not a late pop star is deserving of our love.
If you or someone you know is a survivor of sexual abuse, call the National Sexual Assault Hotline at 800-656-HOPE
Images: HBO; metoomvt / Instagram; juddapatow, ambertamblyn, 8675309Carson / Twitter