Tyler Perry

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Movie mogul Tyler Perry preaches tolerance to the woke flock at Oscars 2021

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Movie mogul Tyler Perry preaches tolerance to the woke flock at Oscars 2021

It was just like one of those inspiring Tyler Perry movie scenes when a believer does the right thing and helps a struggler have a come-to-Jesus epiphany.

Perry was walking to his car after some Los Angeles production work when he was approached by homeless woman.

"I wish I had time to talk about judgment," said Tyler, after receiving the Jean Hersholt Humanitarian Award during the 93rd Academy Awards. "Anyway, I reach in my pocket and I'm about to give her the money and she says: 'Excuse me sir, do you have any shoes?'

"It stopped me cold because I remember being homeless and having one pair of shoes," he added. "So, I took her into the studio. … We're standing there [in] wardrobe and we find her these shoes and I help her put them on. I'm waiting for her to look up and all this time she's looking down. She finally looks up and she's got tears in her eyes. She says: 'Thank you Jesus. My feet are off the ground.' "

Perry, of course, is a movie mogul who has built a 330-acre studio facility in Atlanta used for all kinds of work, including parts of the Marvel epic "The Black Panther." He has created many profitable films of this own, such as "Diary of a Mad Black Woman," "The Family that Preys" and "Madea's Family Reunion," part of a series in which Perry, in drag, plays a pistol-packing, Bible-quoting matriarch at the heart of Black-family melodramas.

It was logical for Perry to receive the Jean Hersholt award, in part because of his rags-to-riches life and his efforts to help churches and nonprofits help the needy. At the same time, it's unlikely that he could ever win a regular Oscar statue since critics and Hollywood elites have long mocked his movies as soapy parables crafted to appeal to ordinary church folks -- Black and White. It isn't unusual, in the final act of Perry movies, for weeping sinners to pull their lives together during Gospel-music altar calls.

Thus, Perry's sermonette was an unusual twist in an Oscar rite packed with political messages and wins by films that few American moviegoers saw or even knew existed.


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New podcast: Should religious leaders and the cultural right applaud lousy Oscar ratings?

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New podcast: Should religious leaders and the cultural right applaud lousy Oscar ratings?

Pick a headline, just about any Oscar headline.

The ratings for the 2021 Academy Awards were bad. How bad? Here’s the take from the world-weary folks at Entertainment Weekly: “Oscars hit another historic low in ratings.”

The New York Post has been known to produce blunt headlines. Thus: “Oscar ratings drop to an all-time low with unwatchable show.”

But what matters, of course, is what runs in prestige settings such as The New York Times. The big business-desk headline there provided some extra, rather acidic, context:

Oscars Ratings Plummet, With Fewer Than 10 Million Tuning In

Sunday night’s pandemic-restricted telecast drew 58 percent fewer viewers than last year’s record low.

Wait, there’s more bad news:

Among adults 18 to 49, the demographic that many advertisers pay a premium to reach, the Oscars suffered an even steeper 64 percent decline, according to preliminary data from Nielsen. …

[The] Oscars have been on a slide since 1998, when 57.2 million people tuned in to see “Titanic” sweep to best-picture victory.

What’s the religion-news hook in this story, other than the semi-religious role that the Oscar rites play in the cult of Hollywood? That was the subject of this week’s “Crossroads” podcast. Click here to tune that in or head over to Apple Podcasts to sign up for a weekly feed.

Let’s walk through this.


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It was hard to edit God out of Cicely Tyson's epic story, but some journalists gave it a try

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It was hard to edit God out of Cicely Tyson's epic story, but some journalists gave it a try

It was hard to listen to Cicely Tyson talk about her life without recognizing the strong undercurrent of Christian faith in her words, deeds and also in her art. While remaining a proud, private, dignified woman, her faith was not something that she tried to hide.

The question here at GetReligion, of course, was whether any of that imagery and information would make it into the news coverage surrounding her death at the age of 96.

The answer was, of course, “yes” and “no.” Many of the obituaries mentioned her Tony-winning return to Broadway in 2013, at the age of 88, to play the unstoppable matriarch in Horton Foote’s classic, faith-driven play, “The Trip to Bountiful.” The show-stopping moment, night after night, was when Tyson would sing — joined by many in the audience — the classic hymn “Blessed Assurance.” It’s hard to avoid the content of lyrics such as these:

Blessed assurance, Jesus is mine; Oh, what a foretaste of glory divine!
Heir of salvation, purchase of God; Born of His Spirit, washed in His blood.

This is my story, this is my song, Praising my Savior all the day long.

If you were looking for the faith-free version of Tyson’s life, the natural place to turn was The New York Times.

This story did a great job of capturing her impact on American culture, especially in terms of the sacrifices she made to portray African-American life with style, power and dignity. Here are two crucial summary paragraphs on that essential theme:

In a remarkable career of seven decades, Ms. Tyson broke ground for serious Black actors by refusing to take parts that demeaned Black people. She urged Black colleagues to do the same, and often went without work. She was critical of films and television programs that cast Black characters as criminal, servile or immoral, and insisted that African-Americans, even if poor or downtrodden, should be portrayed with dignity.

Her chiseled face and willowy frame, striking even in her 90s, became familiar to millions in more than 100 film, television and stage roles, including some that had traditionally been given only to white actors. She won three Emmys and many awards from civil rights and women’s groups, and at 88 became the oldest person to win a Tony, for her 2013 Broadway role in a revival of Horton Foote’s “The Trip to Bountiful.”

But the only reference to her Christian faith — negative, of course — came in this bite of biography:


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New podcast: What's God got to do with it? There's more to Hillsong drama than celebrities

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Nearly 40 years ago, I wrote a story for The Charlotte Observer about a rapidly growing megachurch on the south side of town. Yes, there were megachurches back then. In fact, there were already academics studying the factors that turned ordinary churches into megachurches.

Hang in there with me, because I’m working my way to the topic at the heart of this week’s “Crossroads” podcast (click here to tune that in), which focuses on the New York Times coverage of the fall of that hip Hillsong preacher in New York City.

Anyway, this Charlotte church was fascinating because it had strong Presbyterian roots and its creation was linked to splits that were already taking place in the world of mainline Protestantism. This was not a rock-band-and-lasers church. It was offering conservative Reformed-Calvinist thought with a style that a bit more suburban than your ordinary Presbyterian congregation.

It was clear, at least to me, that the preaching was the key to this story. This was a mainline-esque church where they were still talking about salvation, sin, heaven and hell — all in a dramatic, but intelligent way. So I ended my long feature story with a big chunk of a sermon, built on images of heaven and the end of all things. This led into an altar call and more people streaming forward to join the church.

That works, when you’re in Billy Graham’s hometown. Bit didn’t work for a key editor. One newsroom wit once said that this particular journalist “grew up Unitarian, but then he backslid.” He wanted that ending removed. I stood my ground and — here’s the point — argued that what this church was proclaiming, in terms of doctrine and faith, was a crucial element in its success. This wasn’t just a story about politics, real estate and zoning laws. The editor just couldn’t GET IT. A short version of the ending made it into print.

So back to Hillsong. During the five years that I did some part-time teaching in New York City (on the ground there eight weeks or so, each year), I had lots of students who went to Hillsong. They talked about the music. They talked a lot about the preaching. Yes, they talked about the excitement of being in that crowd and feeling like they were part of all that.

It was clear to me that this Hillsong operation — in the world’s Alpha City — was a big story.

The journalism question is this: To what degree should the faith content at Hillsong, and even the DNA of sermons by the Rev. Carl Lentz, play a significant part of a story about Hillsong NYC and the scandal that took down its leader?


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Faith is front and center at Whitney's funeral

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Funerals are the kinds of events when it’s hard not to get religion, to feature at least some of those quotes that talk about eternal issues and ultimate choices.


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