Creator / Tyler Perry
Tyler Perry and his alter ego Madea

"The typical Winston Jerome story starts with a beautiful, educated, professional black woman trapped in a troubled marriage with the brown-skinned bald dude from Law & Order. Then, a dude who looks like Shemar Moore shows up as the shirtless, light-skinned gardener who just got out of jail. At first she acts like she doesn't like the light-skinned gardener, but eventually gets to know him and sees his sensitive side. Being a good Christian woman, she gives her marriage one last chance because Jesus said so. Just when the brown-skinned dude from Law & Order is about to hit her, here comes the shirtless gardener. The woman and the gardener kiss, having found true love through Jesus."
The Boondocks, "Pause"

Tyler Perry (born Emmitt Perry, Jr. on September 13, 1969) is a mega-successful writer, director, producer, and actor whose film Diary of a Mad Black Woman shocked mainstream box office watchers by opening at #1. It was perhaps less of a surprise to his African American fanbase, who are familiar with his popular stage plays (from which Mad Black Woman and several other of his subsequent films were adapted), as the demographic for his films centers on black America.

Perry is perhaps most physically recognizable as his alter ego Madea, a violence-prone, loud-mouthed grandmother who has appeared in many of his movies. Madea is a contraction of 'Mother Dearest' = "Ma" Dea(r), a term used in the vernacular of many black Americans in the Southern U.S.

He has nothing to do with Those Two Guys from Aerosmith.

Tyler Perry's movies:

TV Shows

  • House of Payne (2007-2012) Lasted 254 episodes
  • Meet The Browns (2009-2011)
  • For Better Or Worse (2011-)
  • The Haves And The Have Nots (2013-)
  • Love Thy Neighbor (2013-)

Tyler Perry's works contain examples of the following tropes:

  • Attention Deficit Creator Disorder: Regardless of how you may feel about his works, you can't question his work ethics. Working on so many projects (films, television, theaters, literature) had made him the highest paid man in Hollywood.
  • Author Appeal: Majority of his works are influenced by his faith and they are filled with Baptist Christian influences.
  • Black Comedy Rape: Jokes on prison rape.
  • Breaking the Fourth Wall: Another staple in Perry's plays, nearly to the point of Running Gag. Madea has been known to stop giving lines and fuss at people who came to the play late in character. There are also points where Perry will go off script and point out that they are in a play.
    Vienne: Madea, go upstairs to your room and close the door!
    Madea: Girl, dis a play, there ain't no room and no door! (cue audience and cast laughter)
  • Broken Bird: Many of his heroines.
  • California Doubling: Averted, his films take place in and are filmed in Atlanta. In fact, he currently lives there and the mansion that Helen and Charles lived in in Diary of a Mad Black Woman is his mansion.
  • Comedic Sociopathy: Usually centered around Madea's violent tendencies and belief in corporal punishment.
  • Copiously Credited Creator: Usually produces, writes, directs, and acts in his movies.
  • Darkest Hour: One in every play, and if Madea hasn't been in the play since the start, this is where she generally shows up.
  • Deep South: Most of his movies take place in Atlanta, and several jokes are made about Madea's Southern black accent ("Good mornting!" "Hallelujer!").
  • Double Standard: Abuse, Female on Male: One of the biggest criticisms against Perry's plays. He toned it down in the films.
  • Never Trust a Trailer: His movies tend to be advertised as being about Madea and her wacky hijinks. In reality, she usually serves as simple comic relief in otherwise heavy dramas.
  • Not Screened for Critics: All of Perry's films. He feels that critics with mainstream white readership are unlikely to have the necessary background to understand his message.
  • Oscar Bait:
    • His adaptations of Push and For Colored Girls.... Succeeded the first time.
    • Although in the case of Precious (the adaptation of Push), the movie had already been finished, screened, and reviewed by the time he had signed on as Executive Producer. He had no input on the actual movie, but his name recognition (along with that of Oprah Winfrey) allowed the movie to get a better theatrical distribution deal.
  • Pretty in Mink: In the Aspen scenes in Why Did I Get Married, the women are wearing some pretty fancy fur coats.
  • Production Posse: He has a group of actors that appear in most of his movies, due to the continuity between them.
  • Rags to Riches: He had a rough childhood and was abused by his father, was molested as a child, and was homeless for a period of time. He now is rated by Forbes magazine as being the sixth highest paid man in Hollywood, and his movies have grossed more than $400 million worldwide.
  • Rape as Backstory: In most of Perry's works, there is at least one character that went through some form of sexual abuse or assault in the past.
  • Reality Subtext: Most if not all of his heroines have some sort of sexual abuse or assault in their background; Perry himself said on Oprah that he was molested on three separate occasions as a child.
  • Single Woman Seeks Good Man: Most, if not all, of the female protagonists in his movies are this.
  • Spotlight-Stealing Title: Many of the movies are titled after Madea and are advertised as being about Madea, despite the fact that she is usually not the main character.
  • Talking to Himself: Between Madea, Uncle Joe, and himself.
  • Team Mom: Madea always serves as these in both the films and plays.
  • Token White: This video lovingly parodies the five white characters in a Tyler Perry movie.
    • Subverted in Witness Protection, where the main character is white and his family play big roles.
  • Writer on Board: A lot of these films are his biases, and things taken from his life.
  • Wolverine Publicity: Madea initially. Over the years, Perry has begun to focus less on Madea, even if her name is still in the title.