TYLER Perry is bringing Madea out of retirement for a new Netflix movie, ‘A Madea Homecoming’.
The 51-year-old star had retired the character after 2019’s ‘A Madea Family Funeral’ but thinks the world “needs to laugh” and so a 12th film in the franchise, ‘A Madea Homecoming’, will stream exclusively on Netflix next year.
In a clip shared on his social media accounts, Tyler slipped in and out of Madea’s voice and said: “Hey, guess what’s happening? Madea’s coming to Netflix.
“We need to laugh, man, too much is going on in the country. We need to laugh, so, I was done, but she’s coming back. Madea on Netflix. I can’t wait.”
As well as starring in the film, Tyler will also write and direct the movie.
The producer had previously insisted it was time to “say goodbye” to the popular character after almost 20 years as he felt “tired”.
Speaking in October 2018, he laughed and said: “It’s time for me to kill that old b****, I’m tired, man! I’m tired.
“I just don’t want to be her age playing her. So, we’re going to say goodbye to her.”
It was reported in April that a prequel series, titled ‘Mabel’, which will be based on Madea’s life in her 20s living in Atlanta, is in the works with Showtime.
Tyler previously admitted he doesn’t think Hollywood understands him or his popularity.
He reflected: “I’m not making ‘When They See Us’. I’m not making ‘Black Panther’. Ryan Coogler, Ava DuVernay, Donald Glover, Issa Rae – they are brilliant storytellers, but that is what Hollywood deems acceptable.
“The stories that I’m telling for my audience, the millions of them around the world who get it, aren’t something that Hollywood necessarily understands.”
The ‘Alex Cross’ actor has previously attracted criticism from a host of big-name stars, including Spike Lee, who has described his work as “buffoonery”.
But Tyler is proud that he’s been able to own “the narrative” in his movies, which include 2007’s ‘Daddy’s Little Girls’ and 2010’s ‘For Colored Girls’.
He said: “People of colour have been marginalised and kept out of Hollywood for so long.
“The only way that it’s going to change is by owning the narrative, not just renting it or being allowed to tell the stories that are homogenised by Hollywood.”
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