It’s been Tyler Perry’s problem his entire career. No matter how hard he tries, no matter how far his influence can exceed already established expectations, he still has a near impossible time tapping into the mainstream. Not in all mediums, mind you. Just films. After all, his TV series tend to defy industry precepts to pull in big numbers across the board, and his personal appearances and stage plays still draw huge numbers. But if you look closely at his work in film, you see a ceiling, a limited reach if you will. Before he became a phenomenon, long before he told every angry black woman to diary their dog-like mates, he was viewed as a niche artist serving a decided niche demo. Put another way, he was an known urban quantity serving an ignored ethnic audience eager to support him. Limited appeal. Limited legs beyond.
Of course, no one outside the pundits really cares/cared. As long as he could maintain minimal budgets ($5 to $20 million) and three to four times the return upon release, he was golden. He was sainted. He was the most powerful and profitable man in Hollywood. But no artist works in a vacuum. They want their work seen by as many people as possible. For Perry, that meant reaching out beyond the decidedly African American segment of the population that prefers his work. It means finding an ancillary series or franchise that, while never taking away from his core audience, would expand his already obvious influence. The answer, it seemed, was James Patterson’s character, Alex Cross.