@KingADOS , at some point in any useful discussion you have to stop just insisting shyt is true solely because you said it and give SOME sort of evidence for your position. Has this theory of yours that Perry and Barris control the entire planet's output of Black media and are directing it to the benefit of White liberals been pushed by anyone else? With receipts? Or is it a product of your mind alone?
If you had claimed that White gatekeepers are narrowing which Black stories can be told you'd have some credibility. But you took the typical TLR route of shytting on the most prominent Black person within range and it doesn't make sense.
How does it make no sense? Because you said it ?
They’re both on the same spectrum and appeal to whiteness, both directly and indirecty.
Claiming that Tyler Perry "appeals to whiteness" is ridiculous. The demographics of his audiences are literally 80-90% black for most of his films. White people are a fraction of his moviegoers, which is hard as hell to pull off in a country that is 70% White. That's not true for Spike Lee joints, it ain't true for Peele, Singleton, Coogler, or any other blockbuster Black filmmaker, it ain't true for Barris either for that matter. It's hard to hell to pull off a series of high-profit films that are predominantly appealing only to Black audiences, but Tyler Perry has done it. It doesn't matter what you do or do not like his characters, personally I've never watched a single one of his films cause it's not my style. But claiming that he makes his films for a liberal white audience is fukking ridiculous.
Indeed "Boo!" did prove to have some crossover appeal, according to Lionsgate's own exit polling, which showed that 60% of “Boo!” audiences on opening weekend were black and the other 40% comprised of a mix of everything else, implying that while black audiences still make up the majority of Perry's fans, there's been a shift, as past "Madea" films drew audiences that were made up of around 80 to 90% black ticket buyers
Lionsgate Tyler Perry is faced with a dilemma: the actor and director is still struggling to get white audiences to see his movies. More specifically, he tells The Wrap in an interview published yesterday, “I still have issues getting screens in white neighborhoods believe it or not,” arguing...
shadowandact.com
Tyler Perry is faced with a quandary that, bluntly put, amounts to this: How black is too black for broader acceptance?
www.today.com
And the amount of black audiences is non-factor considering that black people are mainly limited to these filmmakers and this specific messaging by mainstream media.
For a movie to have a 90% Black audience in a country where the White population outnumbers the Black population by more than 5 to 1, the movie has to appeal to Black audiences FIFTY TIMES more than it appeals to White audiences. About 10 million people paid for tickets to "Diary of a Mad Black Woman". 90% of the audience being Black means that the # of tickets sold to Black audiences was damn near 1/4 of the Black population (of course the numbers are juiced by all the folk who watched it multiple times), whereas less than 10% of the audience was white, so less than 0.5% of the White population watched that shyt. You can't explain disparities like that with "Black folk have limited options". That movie was made to appeal to a certain type of Black audience and not no type of White audience. That's not debateable.
Have you considered the fact that black people watch these films of them being stereotyped, typecasted, and denigrated because we’re so limited in terms of access to depictions of ourselves in mainstream film to begin with?
But I get how you liberals love to leave out context and a critical understanding of things.
This critique makes no sense, liberals can't stand Tyler Perry movies breh, they ain't made for them.
No one has ever been forced to watch a Tyler Perry film. The lack of Black depictions in media is a real issue, but Tyler Perry never became the only option out there. His movies appeal to a very particular "type", which is not you or I or any "liberal white" person out there. More receipts:
When we think of a Tyler Perry fan, who is the person that typically comes to mind? Usually, we may imagine this:
- Middle Aged or Elderly Black person (50+)
- Born and raised in the South
- Black [Baptist] Christian
- Traditional / Conservative viewpoints
Now, what is the image we think of when it comes to a Tyler Perry “anti-fan” so to speak? It may be something like
- Young Black Person under the age of 40
- Regional background varies
- Academic / Attended a 4-year college
- Moderate to Liberal viewpoints, regardless of religious upbringing
This may not be the case of everyone else — but as for me and my social media timeline — I could see a clear distinction between those who raved about the movie and those who wish they didn’t bother watching it at all.
Which is doubled-down on by conservative Black film critic Armond White, who attacks White liberals for "not getting" Tyler Perry movies.
www.nypress.com
Most critics don't get Tyler Perry basically because most critics are whites who are not only clueless about Perry's African-American culture, but unsympathetic to his particular expression. Why Did I Get Married? is typical of Perry's Christian-based, black middle-class viewpoint....
Liberal critics seem put-off by Perrys fundamentalist morality and by his populist approach to drama'even though Perry's message of love and social unity is what white romantic comedies desperately desire (except for hipster romances like Before Sunset). Nothing in Knocked Up is as meaningful as Perry's spectacle of men who must restrain their anger physically or his politically incorrect fashion show of women proudly, luxuriously wearing furs as signs of pleasure and achievement.
Tyler Perry became a big deal because they appealed to a certain type of (socially) conservative Black audience, mostly older and mostly women. Blaming liberals for Perry doesn't make a lick of sense. You're completely blinded to reality by your agenda.
And no, black movies aren’t for black people because they primarily only exist insofar as they fit into the narrow confines set by these two men. Whether you personally believe it or not, they are gatekeepers.
I just can't take anyone seriously who claims that Tyler Perry and Kenya Barris are the two people in America with total control over which Black projects get made.
