“And I saw, and behold, a pale horse: and he that sat upon upon him, his name was Death, and Hell followed with him.” — Revelations 6:8
In all seriousness, though – this is sort of interesting in the way that some of Perry’s projects are once you stop regarding them as films and start regarding them as “found art;” or some kind of anthropological discovery. Drafting Larry The Cable Guy into this (the story: Madea tags along with a friend to surprise-visit her daughter at Christmas, where they’re surprised to find said daughter has a white boyfriend with wacky redneck relatives) sound ridiculous for approximately 30 seconds, then it makes perfect sense.
Also, this (teaming with Dan Whitney aka Larry) seems to be the first time I’ve seen Perry acknowledge or actively court the unexpected crossover-appeal his movies have had with some more conservative white/rural audiences that typically wouldn’t have “black films” on their radar. And his presence will be (literal) Christmas Present to white hipster movie-geeks who’re “ironic fans” of Tyler Perry movies but might sometimes worry that they might unwittingly slip from “clever urbanite snarking at bad movies” to “clueless white person who doesn’t get some idiom of black culture OMG I’M TURNING INTO MY PARENTS AND I MOVED ALL THE WAY TO WILLIAMSBURG TO PREVENT THAT NOOOOOO!”
This will be out December 13th, with another round of “HOW DID THIS HAPPEN!!??” reports on it’s “unexpectedly” large boxoffice take from industry news sites who still haven’t grasped that there are indeed large economically-significant audiences outside their immediate readership to follow on Monday the 16th.