tt Williams made explosive claims about Michael Jackson, revealing that the King of Pop may have had deep-rooted distrust of industry giants like Oprah Winfrey and Sean “Diddy” Combs.
According to Williams, Jackson felt that the entertainment elite, particularly those with power over his career and image, posed a real threat to him.
Williams suggests that Jackson even hinted at this in the naming of his final tour, *This Is It,* a title that could have served as a warning about his life being in danger.
Jackson’s career was famously entangled with figures like Clive Davis and Tommy Mottola of Sony, with whom he had a fraught relationship. In public appearances, Jackson accused Mottola of being manipulative, labeling him a “devil” and warning that the music industry wielded a dark influence over artists. This paranoia extended to his own safety, as Jackson claimed in letters that he feared people were trying to harm him.
Williams interprets this as a forewarning that Jackson sensed something sinister in the industry’s interest in his catalog and success. When he decided to leave Sony as a “free agent,” Jackson became even more vocal about the industry’s abuses.
Oprah Winfrey’s relationship with Michael Jackson is one of the most talked-about in media circles. She famously interviewed him in 1993 at his Neverland Ranch in an attempt to dispel rumors about his private life. However, her questions, which included sensitive inquiries about his relationships and alleged plastic surgeries, struck some fans and family members as prying and even accusatory.
The relationship further deteriorated after Jackson’s death in 2009 when Winfrey openly supported the controversial documentary *Leaving Neverland*, which featured Jackson’s accusers, Wade Robson and James Safechuck. By interviewing them and supporting their claims, Oprah angered Jackson’s family and fans, who felt she betrayed the artist’s memory and tarnished his legacy.
Winfrey’s connections with other controversial figures also came under scrutiny. Notably, her association with film producer Harvey Weinstein, later convicted of multiple sexual crimes, raised eyebrows. Some critics argue that Winfrey should have maintained the same level of accountability for all powerful figures, but instead selectively targeted Jackson, while others accused her of protecting Weinstein. Winfrey’s endorsement of Weinstein and her attendance at events with him were seen by many as a sign of hypocrisy, particularly given her support of the Jackson accusers.
Diddy, another figure whom Williams links to Jackson’s suspicions, has faced his own scrutiny within the industry. Jackson’s former head of security, Fahim Muhammad, who later worked for Diddy, allegedly knew more about the King of Pop’s final days than was made public, leading some to speculate that Jackson’s passing was connected to powerful figures within the entertainment industry. With Diddy’s ties to Sony and rumors of behind-the-scenes maneuvers, Williams hints that there may have been more at play than a mere overdose.
Williams has long been outspoken about what he sees as the entertainment industry’s “dark underbelly,” and in this latest revelation, he argues that Jackson’s legacy and life may have been targeted by an industry unwilling to lose control over its most successful artist.
