19 chapters across the catalog
A personal anecdote describes the vetting process for "academically gifted" black students in the late 1980s and early 1990s, which the speaker intentionally avoided to remain with his peers. The discussion explores how these programs, along with media figures like Tyler Perry, are used to push specific agendas—such as vaccination or reproductive behaviors—within the black community. The hosts argue that these efforts are often intentional psychological operations designed to maintain control.
The segment critiques the expectation of many women to date the "top 10%" of men, a demographic Kevin Samuels labeled "high-value men." It is argued that media, including Tyler Perry films and Disney stories, has given women unrealistic expectations, leading them to reject "regular" men like electricians or plumbers. The obsession with high-status individuals is framed as a component of modern eugenics, where only the "pretty" or "successful" are encouraged to procreate.
An archival interview with actress Margaret Avery explores the controversy surrounding "The Color Purple" and its depiction of Black men. The hosts discuss how the "Tyler Perry formula" often relies on the archetype of the abusive Black man, which they argue demeans the community. They critique modern media representations of Black women, which they claim are limited to the "Mammy," the sexual object, or the difficult career woman seen in shows like "Scandal."
Media mogul Tyler Perry partnered with BET and Viacom CBS for a television special aimed at raising COVID-19 vaccine awareness among Black Americans. The segment analyzes a clip of Perry receiving the vaccine at Grady Health System and questions the use of Run DMC's "Walk This Way" as a subliminal tool for compliance. The hosts express skepticism regarding the reported "one in three" vaccine hesitancy statistic cited by Gayle King.
Tyler Perry discusses a Kaiser Health study with Anthony Mason, addressing the distrust Black Americans feel toward the medical establishment. The conversation shifts to "woke" ideology, where the hosts mock claims that mathematics and objective truths, such as "two plus two equals four," are inherently racist. They argue that Perry is being used as a specific cultural asset to reach older Black believers who are skeptical of the "Rona" narrative.
The hosts analyze Tyler Perry's cultural role as an amalgamation of Oprah Winfrey's entertainment power and TD Jakes' religious influence. They discuss his character "Madea" as a cross-dressing persona that allows him to embody binary elements. The segment draws a controversial parallel between Perry's dual roles and the symbolism of the Baphomet, representing the "equilibrium of opposites" used to reach both believers and the secular world.
Tyler Perry mourns the loss of his longtime hairstylist, Charles Gregory, who died from COVID-19 complications. Following this, Perry implemented a strict "bubble" at his Atlanta studio, claiming to have produced 200 shows without a single positive case. The hosts question the statistical likelihood of zero cases in such a large production environment, comparing it to the NBA and NFL bubbles.
Tyler Perry's BET special is characterized as a "native ad" for Pfizer. The hosts point out that Perry specifically mentions taking Advil—a Pfizer product—to manage his post-vaccine aches. They argue that Pfizer has successfully used its massive advertising budget to discredit competitors like AstraZeneca and Johnson & Johnson while positioning its own mRNA product as the gold standard.
The hosts pay tribute to the late Cicely Tyson, an Emmy and Tony award-winning actress and close friend of Tyler Perry. They question why her death was "swept under the rug" without a massive public funeral, despite her iconic status in the Black community. The segment highlights her role in *The Autobiography of Miss Jane Pittman* and her importance as a representative of the ADOS (American Descendants of Slavery) experience.
Tyler Perry admits his initial skepticism toward the vaccine, citing the historical trauma of the Tuskegee syphilis experiment and the story of Henrietta Lacks. He explains that he only agreed to take the shot after his questions were answered by doctors at Grady. The hosts argue that Perry's "skepticism" was a calculated part of his pitch to make the vaccine more palatable to his audience.
Tyler Perry receives the Jean Hersholt Humanitarian Award from the Academy, which the hosts suggest is a reward for his vaccine promotion. During the interview, Gayle King asks Perry to channel his character "Madea" to tell people to get the vaccine. The hosts compare this to the "Black man in a dress" trope discussed by Dave Chappelle and Martin Lawrence, calling it a demeaning requirement for a "billion-dollar mogul."
Charlamagne tha God expresses his skepticism toward the vaccine on *The Breakfast Club*, citing the history of profiting off Black bodies. He criticizes Tyler Perry's filmography—including *Precious* and *For Colored Girls*—as "African-American horror movies" that portray Black men negatively. The hosts discuss the reported end of Perry's deal with Lionsgate and Charlamagne's refusal to be moved by celebrity endorsements.
The hosts explore Tyler Perry's history of childhood abuse and suggest he may be a victim of "MK Ultra" style trauma, using Madea as a dissociative coping mechanism. In contrast, they play a clip of Wendy Williams firmly refusing the COVID-19 vaccine, stating she doesn't even trust the flu shot. They highlight the "split in the metaverse" between Oprah's camp (Perry) and those like Wendy and Charlamagne who refuse to comply.
Pastor Gino Jennings delivers a fiery sermon criticizing TD Jakes and Tyler Perry for "religious faking" and "abominations." He mocks Jakes' reaction to Perry's "laying on of hands" and calls for a return to true biblical commandments. The hosts use this to illustrate the deep split within the Black church between those following the "biosecurity state" and those adhering to traditional faith.
The hosts discuss Tyler Perry providing a mansion and security for Harry and Meghan as a form of "financial cuckolding." They suggest that by allowing a wealthy black man to provide for his family, Harry is attempting to "tamp down" his association with white supremacy. The segment explores the power dynamics of Harry appearing as a man who needs to be saved by black billionaires.
The "Big Mama" figure serves as the exalted head of the matriarchy in many Black communities, popularized by entertainers like Bernie Mac and Tyler Perry. While the archetype is rooted in the historical "Mammy" trope, it represents a central figure of nurturing and authority. In political spheres, some argue that the Democratic Party views Black women through a similar lens, expecting them to "save" the party, as seen in discussions regarding vice presidential picks and Michelle Obama.
The intense media defense of Gail King is attributed to high-level corporate memos and the influence of Oprah Winfrey. The hosts discuss the "Boule" as advisors who carry water for power structures rather than the community. They also note the competitive relationship between Viacom and Oprah, specifically mentioning Tyler Perry's move to BET.
Charlamagne Tha God expresses exhaustion with traditional slave movies like 12 Years a Slave, preferring the "fantasy" of Django Unchained where the protagonist takes revenge. Hollywood is described as prioritizing commerce over color, using "white guilt" and "victimization mentality" to sell tickets. Tyler Perry is noted for identifying a lucrative niche by providing non-hip-hop content centered on struggle and religion.
Director Nelson George discusses how hip-hop became an easy shorthand for marketers, often overshadowing the complexity of Black culture. This narrow focus allowed creators like Tyler Perry to succeed by targeting the "non-hip-hop" Black market. George emphasizes that Black culture is not a monolith and contains many subsets that are frequently underappreciated by mainstream press and narrowcasting.
