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The case of Leaving Neverland (2019) exemplifies this tension: while lauded by some as a brave reckoning, it was condemned by the Michael Jackson estate as a one-sided hit job. Similarly, Bohemian Rhapsody (a biopic, but with documentary elements) blurred lines between dramatic license and factual representation. Thus, the genre constantly asks: Is it fair to use the tools of entertainment to critique entertainment itself? to provide firsthand context