"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."
Tyler Perry is a mega-successful playwright/director/actor/producer/author 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-mouthedgrandmother 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 and his work provoke a strong Love It or Hate It reaction. Some people appreciate his focus on church-going black middle-class characters, both as the subject of his stories and as the audience he typically courts (both of which have long been ignored by mainstream Hollywood). He has also earned respect for being a self-made millionaire who has managed to find success outside of the Hollywood system, and for casting talented black actors and actresses who are otherwise underutilized by Hollywood.However, he's also been criticized for Unfortunate Implications on several fronts. Some critics point out that Madea would be considered an Ethnic Scrappy if she were created by a white director, that educated black people in his plays/movies are frequently portrayed as villains while blue-collar black men are presented as virtuous, that corporal punishment and violence are viewed as acceptable punishments for rowdy children, and that it relies too much on the Gospel as the solution to all life's problems. Given the popularity of such films, it may either be pandering or cultural conflicts.Regardless of which side of the fence one falls on, Perry's success is inarguable.
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)
Jerk Ass: Madea is quite possibly the biggest asshole as of late on the big screen or theatre. Granted, she does have her Jerk with a Heart of Gold moments, but even then....
She's also a serious Karma Houdini. In anything resembling the real world she would have been in jail years ago. In the films when she actually does go to jail she not only gets out early on a technicality, but she becomes a media darling used as an example of how corrupted the legal system has become.
A more obvious version would be Mike from Why Did I Get Married? He verbally abuses, belittles and cheats on his obese wife, Shelia, spills the delicate secrets of his friends and their wives (and in the process, creates problems within the marriages), leaves said wife high and dry, is essentially a boorish, self-important Jerk Ass...and is still accepted into their inner circle (and with his male friends, almost like nothing ever happened!) He finally receives karma (of sorts) in Why Did I Get Married, Too?, but even then, it's considered unfitting.
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: None of Perry's films. He feels, not wholly without justification, 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.
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.
Throw It In: Not sure if this still goes on, but in his early days of nothing but stage plays, a lot of the lines/interaction of the characters was obviously improv and was subject to change based on the city of the performance.