“…. (Tyler) Perry has been quite direct in conveying his desire to move beyond Madea…. Behind Perry’s increasingly thinner Madea disguise, the wig, big glasses and movable breast parts, Perry’s fatigue is obvious in the harshness underlining his performance (in Madea’s Big Happy Family)…. Previously, in a 2009 Associated Press interview (above), Perry shared his fatigue with continuing the defining character of the Tyler Perry brand saying that he would love to see ‘Madea die a slow death in the next film’:
but as long as people want to see it, I’ll keep her around. She’s fun to watch but to do, it’s a nightmare…. [the fans] dictate what happens next really, so as long as they want to see her, she’ll stay around… but if they ever stop coming she is going to die a quick death. Madea’s funeral, that’s what you look forward to.
Because he has gained a significant level of representational power through selling made successfully and can represent at will, the imagery Perry projects of African American culture is no mere laughing matter.”
Dunn, Stephane. “Fat, Sass and Laughs: Black Masculinity in Drag.” Communicating Marginalized Identities: Identity Politics in TV, Film, and New Media. Ed. Ronald L. Jackson II and Jamie E. Moshin. New York and London: Routledge, 2013. Web. p. 140-1.