Tyler Perry is one of the busiest and most powerful men in Hollywood, and, for the first time, the producer-writer-actor has faced backlash regarding the writing process of his TV shows. More specifically, a whole wave of controversy erupted due to the fact that Perry does not employ writers when working on a show, instead opting to do it all by himself. While having produced multiple series hits like The Haves and the Have Nots, The Oval, and Sistas, Perry has written many of his shows himself. Recently, in an interview with Candor, he responded to the backlash, sharing an inside look at his writing process and defending his choice.
It became an issue when Perry posted a video of stacks of scripts, proudly declaring himself as the sole writer of many of his projects. Many critics did not take this declaration too well, especially since such a stance is thought to deprive up-and-coming writers of opportunities. Critics felt that Perry, who has built an empire and has enormous clout, should be affording opportunities to younger, fresher writers to contribute to the industry. The backlash only mounted on social media, where many urged Perry to reconsider his stance and work with a team of writers to nurture newer voices.
But Perry’s response was unwavering and clear. He said that the decision to write alone was out of necessity and frustration with his past experiences when working with writers. Early in his career, Perry did try to establish a writers’ room; the results were not as he had hoped. He referred to his first experience with a writers’ room as a “nightmare,” citing that the scripts written by hired writers did not resonate with his audience. The result of this disconnect was a fall in ratings, and it led Perry to take control into his hands.
“My audience knows my voice, and they want to hear from me,” Perry says. He said that even though he respects the craft of other writers, too much of his personal connect with his audience—more precisely, his telling of their stories, their struggles, and their desires—could not be outsourced. “When my ratings took a dip because of scripts that weren’t speaking to my audience, I knew I had to step in and write the shows myself,” he added.
It wasn’t only creative frustration that made Perry sour on writers’ rooms. He also said that working with WGA union writers brought additional financial burdens. He remembered a season in which he paid writers high wages for scripts that had to be rewritten and rewritten for unacceptable material. “One year, we overpaid the WGA by a million dollars,” Perry said. The financial headache, plus disappointment in the quality of scripts, led him to determine that handling the writing himself was the best way to get the work done efficiently.
Yet, Perry continued to remind these writers throughout the week that this wasn’t about discrediting writers in their own way. He had said very clearly: “I do and I will support new talent.” What he described for upcoming shows was something with writing opportunities but split off onto their own separate projects in his studio, one with designated showrunners and writing rooms. “But for these particular shows, my audience wants my voice,” Perry confirmed. He assured both fans and critics that he would always have a place in his studios for good, talented writers, but his pen would continue to chisel out the scripts in his most favorite shows.
Meanwhile, Perry’s comments didn’t stop at his studio. His remarks extended to the larger debate over how Hollywood treats its writers. While he acknowledged that the industry could be better at supporting emerging voices, he stressed that every artist has his own method of creation. “Every artist is different,” he said. “I can’t do everything by myself, but when it comes to my shows, I have to deliver what my audience expects.” Perry also said that the entertainment business was often a “family,” one in which one sometimes had to forge one’s own way, even against the crowd.
His critics were not entirely silent in response to his comments. Some, like writer-director Lena Waithe, showed a more measured tone in response to Perry’s position. Having faced her own battles in the industry, Waithe said that though the decision may be contentious, it was ultimately Perry’s call to make. “Tyler has been supportive of me and many other Black artists,” Waithe said. “We have our issues, but I understand that sometimes family business is family business.” This acknowledgment from a fellow Black filmmaker brought in the complexity of the situation—while Perry’s actions might seem counterproductive to some, others see them as part of a larger strategy to maintain control over his brand and the stories he tells.
Perry’s stance has sparked a broader discussion about the role of writers in Hollywood, particularly in relation to Black writers. Many have called for more opportunities to be made available to young, talented writers who are eager to contribute their voices to the industry. Perry’s success story has become a blueprint for many, but there is still an ongoing conversation about how to balance artistic control with fostering new talent.
As for Perry, his commitment to bringing up the next generation of creators has remained strong. His shows today may not require a traditional writers’ room, he granted, but the opportunity for writers remains a hallmark of his studio’s mandate. After all, Perry’s legacy is built not only on the shows that he himself makes but on the doors he opens along the way. His response to criticism might have been blunt, but it was also reflective of a man who has built his empire through determination and an unyielding belief in his vision.
Ultimately, what Tyler Perry has said is that there is no one size that fits all in the entertainment industry. Whether or not he continues to write all his scripts alone or shifts toward more collaborative efforts in the future, Perry’s voice remains a defining one in modern television.
