Corey Feldman Walks Back Molestation Claim About Corey Haim in Apple TV Documentary

Corey Feldman says he did not claim that his late friend Corey Haim molested him, and he has walked back a line from an Apple TV+ documentary that described him as a victim of sexual misconduct during the making of The Lost Boys in 1987. Feldman, who was 16 at the time, has long described Hollywood as a hypersexualized environment for child actors, and his representatives now say the remarks were a mischaracterization that does not amount to a claim of physical molestation.

Haim's mother, Judy Haim, immediately pushed back on Thursday, telling TMZ that her son would not have engaged in such acts and accusing Feldman of trying to stay relevant after his death. She said there is no way Corey molested him and suggested Feldman was fabricating stories to keep attention on himself. Judy Haim also indicated she may pursue legal action.

Feldman’s legal team issued a statement to Us Weekly on Friday saying the comments in the Apple TV+ documentary were a “mischaracterization” of his relationship with Haim. They asserted that Feldman’s statements referred to Haim making advances, which he did not reciprocate, and that Feldman did not claim any physical molestation occurred.

In the documentary by filmmaker Marcie Hume, the interview with Feldman took place in late 2017 amid the broader cultural moment of the #MeToo era, and the film presents Feldman’s life and career as he addresses Hollywood abuse allegations and long-simmering personal secrets. The project, marketed as Corey Feldman vs. The World, is described as a surreal-toned tour through a life shaped by adolescence spent in front of the camera, on buses and hotel rooms, and around colleagues who became part of a turbulent industry.

The public dispute underscores the competing narratives surrounding Feldman and Haim, two stars linked by The Lost Boys and a slate of 1980s teen pictures. Feldman has long talked about the abuses he and Haim faced as child actors, and the mother’s statements add a new layer of tension to those discussions. The comments also point to the complexity of interpreting past events through new documentary frames, especially when family members of the deceased weigh in with differing memories and legal concerns.

Judy Haim’s broader claim—that her son’s legacy should be preserved without accusations from peers—has drawn attention to how families navigate the aftereffects of reopened conversations about exploitation in early Hollywood. She contended that the claims about her son were inconsistent with her memory of their on-set experiences and argued that the timing and framing of Feldman’s remarks cast doubts on their accuracy. Feldman’s team, in turn, argued that the remarks did not amount to a charge of physical molestation and emphasized that Feldman has previously described a pattern of predatory behavior in Hollywood and the lasting impact of those experiences on his life and career.

The documentary references other familiar figures connected to Feldman’s public narrative. A representative for Charlie Sheen responded to related passages in the film, telling Variety that the specific allegations about Sheen did not occur. The note of denials from multiple corners demonstrates how publicly aired claims—especially those involving minors and famous industry figures—can become focal points for broader debates about accountability, memory, and how to balance survivor testimony with the memories of others involved.

Corey Haim died in 2010 at the age of 38 from pneumonia, leaving behind a career that spanned several iconic 1980s titles alongside Feldman. The two actors collaborated on films such as The Lost Boys, License to Drive, and Dream a Little Dream, and their onscreen bond remains a touchstone of that era’s teen cinema. In the years since, Feldman has been both a controversial and sympathetic figure in discussions about Hollywood’s treatment of young performers, a conversation that has been rekindled by the new Apple TV+ release and the public exchange between Feldman and Haim’s family.

As the documentary circulates, the controversy serves as a reminder of how survivors and families interpret, respond to, and sometimes challenge the way those memories are presented in film. While Feldman’s team maintains that the remarks were mischaracterized, Judy Haim has signaled that she may pursue further action, illustrating that the narrative around this chapter of Hollywood history remains unsettled. In the end, the situation highlights how the country continues to grapple with questions about abuse, accountability, and the complexities of memory when past events are revisited through documentary storytelling.