Netflix is dropping a three-part docuseries that revisits Michael Jackson’s 2005 trial in which he was acquitted on charges of child molestation.

“Michael Jackson: The Verdict” drops June 3 and features archival footage and interviews with key players involved in the trial including jurors, figures from both the defense and the prosecution, journalists who were inside the courtroom and other eyewitnesses who saw the events unfold firsthand.

“It has been 20 years since the trial of Michael Jackson in which he was found not guilty. Yet, to this day, controversy still rages,” the filmmakers said. “No cameras were allowed in court, and so the public’s view of the facts at the time were filtered by commentators and presented piecemeal. It was time to take a forensic look at the trial as a whole.

“Anyone interested in the Michael Jackson story should feel this documentary gives them a window into what was largely a closed event and a chance to feel closer to what happened.”

The Santa Barbara Superior Court trial lasted 14 weeks, and the jury, which included eight women and four men, deliberated for more than 30 hours across seven days.

Jackson was acquitted on 10 felony charges: four counts of child molestation, four counts of plying a minor with alcohol in order to molest him, one count of attempted child molestation and one count of conspiracy to hold the boy and his family captive at the Neverland Ranch. He faced more than 20 years in prison.

Produced by Candle True Stories, the production company behind Netflix’s “Untold: The Liver King,” and directed by Nick Green, “Michael Jackson: The Verdict,” comes at a time of renewed interest in the “King of Pop.”

The Jackson-estate-approved biopic “Michael” hit theaters last month, and depicts the origin story of the hitmaker from childhood through his upward trajectory to superstar status in the 1980s. Notably, the movie omitted the slew of allegations that followed Jackson from the ’90s until his death in 2009.

Boots Riley holds nothing back in his audacious, surrealist social satire “I Love Boosters.” The film is a go-for-broke expression of wild imagination and social consciousness that’s impossible not to admire for its wacky, bold vision, with teleporting, high fashion snobbery and pyramid schemes.

Here is a movie where we get Keke Palmer, Naomi Ackie and Taylour Paige leading a vigilante shoplifting operation, Demi Moore as a toxic girl boss, Don Cheadle as a sleazy lifestyle evangelist, Will Poulter as a fussy store manager and LaKeith Stanfield as a discount brand model with a strange accent and a hypnotizing stare. It sounds like fun, right? Like a raucous, madcap ride through the inequities of the fashion business from the executive suite, down to the retail store where the goods are sold and the Chinese factories where they’re made? And on a certain level it is all of that, but one thing it is not is very funny. “I Love Boosters” can be amusing and clever, but the laugh-out-loud comedy just isn’t quite there. And it doesn’t help that the film goes more off the rails as it progresses to a climax that is less rousing than mind-numbing.

The thing is, “I Love Boosters” does start on a strong, albeit minor key as we’re introduced to the Velvet Gang, Corvette (Palmer), Sade (Ackie) and Mariah (Paige) and their booster operation, stealing overpriced designer wares from high end stores and selling them for a steep discount on the street. There’s a kind of a Robin Hood sensibility to it all. Mariah calls it “Triple F,” or “Fashion Forward Filanthropy.” She knows how to spell philanthropy, she deadpans; This is branding.

But despite the colorful surroundings, there’s a pervasive hopelessness in this off-kilter world that looks a lot like our own. Corvette, particularly, feels outside of it all, as a woman who dreams of being a designer herself but is currently squatting in a closed fast food chicken shop and being haunted by a boulder of debt (like, literally). It doesn’t help that the founder she idolizes, Moore’s Christie Smith, has become obsessed with stopping the boosters. To Christie, a genius megalomaniac, they’re the big problem with her business and not the fact that her store employees are being paid a pittance and her factory employees even less. The people who work at the factories are also getting sick from sandblasting the denim. And yes, these are all real things.

Eiza González’s vaping Violeta becomes the face of the store employees forced to use their own paychecks to buy their uniforms. Poppy Liu’s Jianhu, who teleports herself from China to the Bay Area, is that for the factory workers. This oddball group of five women band together to get revenge against Christie. Again, this all sounds like it should be a fun time, but the film is too busy jumping around and throwing ideas and concepts at the screen (teleporting somehow the least distracting of them) for us to spend much time just hanging out with these vibrant personalities.

It is a crime that this is only Riley’s second produced movie. Though it might not reach the crackling heights of his debut, “Sorry to Bother You,” his imagination is still on fire. Unlike so much of what’s out there, “I Love Boosters” has both style and substance, which is worth something even if it doesn’t land perfectly (or capably inspire any kind of revolution). In a marketplace full of content and franchises, here is a filmmaker with something to say and an interesting way to say it.

“I Love Boosters,” a Neon release in theaters Friday, is rated R by the Motion Picture Association for “strong sexual content, brief drug use, nudity and language throughout.” Running time: 115 minutes. Two and a half stars out of four.

Lupa Systems, the media and tech holding company owned by James Murdoch, is set to acquire nearly half of Vox Media.

As part of the deal, Murdoch’s company will own Vox Media’s podcast network, Vox.com and New York Magazine, once an asset of his father, industry giant Rupert Murdoch. Terms of the deal were not disclosed, but the price tag was reportedly over $300 million, the New York Times reported citing people familiar with the deal. The goal of the investment is to bring “influential journalists, top-rated podcasts, and digital brands with large social footprints” to Lupa and help grow its media portfolio, the company announced Wednesday.

“This acquisition aligns well with our existing holdings and investments and reflects both our interest in the forward edge of culture and our deep commitment to ambitious journalism and agenda-setting conversations,” Murdoch said in a statement.

The three new assets will function as a subsidiary of Lupa Systems and will keep the name Vox Media. The deal includes New York Magazine’s popular verticals like The Cut, Vulture and Intelligencer, as well as Vox’s most successful podcasts like “Today, Explained” and “Pivot with Kara Swisher and Scott Galloway.” Jim Bankoff, Vox Media’s current CEO, will continue to lead the company.

The other Vox Media properties, which Murdoch did not purchase, include websites like Eater, The Dodo and The Verge. These platforms will be run under an unnamed new company by the current president of Vox Media, Ryan Pauley.

This investment strengthens Lupa Systems’ position in the evolving media landscape. The business has other holdings including the parent company of Tribeca Film Festival, the owner of Art Basel, Robert DeNiro and Jane Rosenthal’s entertainment company Tribeca Enterprises, and Bodhi Tree Systems, an investment platform behind a popular Indian streaming service.

This is one of the largest deals Murdoch has closed since he and his family resolved a $3.3-billion dispute last year. The conflict centered on the future of the family’s media empire, which includes Fox News, The New York Post and The Wall Street Journal. In the settlement, James Murdoch received roughly $1 billion and his elder brother, Lachlan, assumed power over the family’s assets.

Before the legal blowout, Murdoch previously served as the chief executive of major global media companies like 21st Century Fox and Europe’s Sky Group.

The billionaire told the New York Times that, with this new acquisition, he didn’t want a “daily news business.” He wanted “longer-form, thoughtful journalism that can really speak to the culture.”