The hit docuseries on Michael Jordan and the 1990s Chicago Bulls scores big as entertainment, but journalistic compromises make it little more than longform branded content
Not long after ESPN scored its first ever Academy Award for Ezra Edelman’s nonpareil OJ: Made in America, a masterclass in longform investigative journalism that drew comparisons to Mailer and Caro, the network announced another multi-part documentary series centering on an American sports icon. The Last Dance, a 10-part film jointly produced with Netflix, promised an unvarnished deep dive into one of the most transformative stars and feted dynasties in the history of sports: Michael Jordan and the 1990s Chicago Bulls.
The anticipation only mounted with the release of a glossy extended trailer at Christmas that teased never-before-seen footage and a star-studded roster of interviewees – Barack Obama! Justin Timberlake! – along with the participation of Jordan himself, who has spoken only sparingly about the Bulls’ imperious reign and dumbfounding break-up in the two decades since his playing days. Initially slated for a June release alongside this year’s NBA finals, ESPN swiftly moved up the premiere date to April after the coronavirus pandemic went scorched earth on its spring programming schedule.
Written by Bryan Armen Graham
This news first appeared on https://www.theguardian.com/sport/2020/may/09/the-last-dance-michael-jordan-netflix under the title “The Last Dance: Is the Michael Jordan documentary a dressed-up puff piece?”. Bolchha Nepal is not responsible or affiliated towards the opinion expressed in this news article.
