Tyler Perry On Madea: "I'm So Sick..." & New Movie!

Is there a limit to how much one can be associated with a character, even if that character is a beloved cultural icon? For Tyler Perry, the answer seems to be a resounding "yes," as he humorously grapples with his long-standing relationship with the character Madea.

In a series of recent public appearances and interviews, the multi-hyphenate entertainer has repeatedly offered a playful, yet telling, glimpse into his feelings about Mabel "Madea" Simmons, the boisterous, gun-toting matriarch who has become synonymous with Perry's career. The character, beloved by millions, has also become a source of enduring, if occasionally exasperated, commentary from her creator. The latest instance surfaced during a promotional event for his upcoming Netflix sequel. Perry, when asked about Madea, quipped with a weary smile, "I'm so sick of this old broad. What is it, damn it, what is it?!"

Category	Details
Full Name	Tyler Perry (Eitimine Michael Perry)
Date of Birth	September 13, 1969
Birthplace	New Orleans, Louisiana, USA
Nationality	American
Occupation	Actor, Filmmaker, Playwright, Author, Businessperson
Known For	Creating and portraying the character Madea; directing and producing numerous films and television shows; founding Tyler Perry Studios.
Spouse(s)	Gelila Bekele (Partner)
Children	One son
Notable Works	Diary of a Mad Black Woman, Madea Goes to Jail, Why Did I Get Married?, For Colored Girls, Alex Cross, The Haves and the Have Nots (TV series).
Awards and Honors	Numerous NAACP Image Awards, BET Awards, and a star on the Hollywood Walk of Fame.
Net Worth	Estimated at $800 million
Website for Reference	IMDB - Tyler Perry

This familiar refrain, a playful jab often delivered with a hearty laugh, has become a recurring theme in Perry's public pronouncements about Madea. He's acknowledged, with a weary smile, the weight of the character's enduring popularity and the constant demands it places on his creative energy. "What is it, damn it, what is it?!" is more than just a comedic line; it's become a shorthand for the sometimes-complicated relationship between an artist and the creation that made him a household name. Its a sentiment hes echoed time and again, during interviews, promotional appearances, and even on social media. The very fact that he keeps returning to this joke suggests a level of comfort and familiarity with the character, even as he jokingly expresses his "tiredness" of her. In a world of manufactured celebrity personas, this self-awareness, this willingness to playfully critique his own creation, is, paradoxically, quite endearing.

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Perry's recent comments also hinted at the plot of the upcoming Netflix sequel, "Madea's Destination Wedding," which will take the character to the Bahamas. This detail, while seemingly innocuous, opened the door to another quip. Perry humorously questioned whether Madea would even be able to leave the country, acknowledging the characters sometimes-turbulent relationship with authority and the law. The joke, like many of his Madea-related pronouncements, underscores a deep understanding of the characters appeal: she is, at her core, a force of nature, a woman who doesn't play by the rules and whose actions often result in hilarious chaos.

The news of a new Madea film, especially after Perrys announcement three years ago about retiring the character, was met with a mix of excitement and perhaps a touch of bewilderment. After all, Perry had previously declared his intention to bid Madea farewell. The decision to bring the character back for another outing speaks volumes about her enduring power. She is a cash cow. This, however, does not negate Perry's repeated expressions of being "sick of this old broad."

The resurgence of Madea offers an interesting juxtaposition of creative control and audience demand. On one hand, Perry's ability to craft and direct the Madea films gives him complete artistic control. The character's evolution is entirely in his hands, from the scripts to the casting decisions. Simultaneously, the characters immense popularity with a broad audience means that Perry is in the business of responding to demand. He is providing his fans with what they want more Madea even if that means occasionally feigning exhaustion at the prospect.

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Perrys comments can be seen as a clever marketing strategy. By acknowledging his weariness with the character, he makes himself relatable. He humanizes himself and, in turn, makes the audience feel as though they are in on the joke. This self-deprecating humor fosters a connection with his audience, which is critical to the success of his films and his broader brand. It also reminds us that beneath the Hollywood veneer, even the most successful creators grapple with the demands of their craft and the complex relationship between art and commerce.

The "I'm so sick of this old broad" line is not just about Madea herself; it is a meta-commentary on the creative process and the burdens of fame. Perry, a prolific writer, director, producer, and actor, built his empire on the foundation of Madea. The character has allowed him to connect with audiences, build a media empire, and tell stories centered on Black experiences that are often ignored by mainstream media. Perry has repeatedly emphasized the importance of representation and creating opportunities for Black actors, writers, and filmmakers, and Madea has provided a platform to do just that.

The recurring nature of the joke also suggests a deep affection for the character, even if expressed through a humorous lens. Creating such a character, bringing her to life, and watching her resonate with the public is a testament to Perry's skill as a storyteller. The "What is it, damn it, what is it?!" quip, far from being a dismissal, could be interpreted as a sign of affection, a testament to the fact that, despite his playful complaints, Perry understands Madeas power and the impact shes had on his career and on the lives of his audience.

This dynamic is also evident in the way Perry approaches other projects. He has expanded his creative horizons through diverse works such as Why Did I Get Married? and For Colored Girls, demonstrating his versatility and his commitment to telling a variety of stories. While some projects may have received critical acclaim, others have resonated more profoundly with his core audience. He also calls out to insurance companies in heartfelt posts amid the L.A. fires, showing that he is not only a showman, but also cares for his fellow people.

The announcement of a new Madea film in many ways signals that Perry recognizes the enduring appeal of the character and the financial success it represents. Jack Black's Minecraft movie beating his Super Mario Bros. movie to set a new box office record is further proof of the public's appetite for films, no matter how niche. This willingness to embrace audience desires, while acknowledging the challenges, highlights Perrys business savvy and his deep understanding of the entertainment landscape. The character also gives Williams a platform, which is a testament to Perry's ability to give opportunities to talented people.

Ultimately, Tyler Perry's humorous complaints about Madea, while seemingly straightforward, reveal a layered and complex relationship. It is a relationship forged in creativity, defined by audience affection, and sustained by the realities of the entertainment industry. The "I'm so sick of this old broad" quip offers a glimpse into the mind of a creative powerhouse who has successfully navigated the intricacies of Hollywood while remaining true to his vision and his fans. The character is a testament to the power of storytelling and a reflection of the ever-evolving nature of creativity and commerce, especially in this modern media landscape.

While the precise narrative details of "Madea's Destination Wedding" remain under wraps, Perry's playful teasing suggests that the film will remain true to the character's established formula: a blend of humor, drama, and heart, all delivered with Madea's unmistakable brand of sass. If Madea can get out of the country, that is.