The media mogul’s candid comments spark debate over family, financial boundaries, and the power of ownership in Hollywood. During a recent appearance on the Den of Kings podcast, Tyler Perry sat down with gospel legend Kirk Franklin, entrepreneur Derrick Hayes (founder of Big Dave’s Cheesesteaks), and rapper Jeezy to discuss legacy, ownership, and the complexities of helping loved ones. In a particularly revealing moment, the billionaire actor and studio head shared that he once fired his own aunt after she failed to show up for a job he created specifically to help her become self-sufficient. “She was always calling me for money, and I would send it,” Perry explained. “I told her, ‘I want to help you build something. Let me give you a job, not just handouts.’ But she didn’t want to show up. I can’t handicap the people I love.” While his fellow guests expressed understanding, the internet responded with mixed reactions. Some applauded Perry for setting firm boundaries, while others criticized him for not offering continued support given his immense wealth. Adding an ironic twist to the story, Perry has previously said that his beloved Madea character was inspired by his aunt—though it’s unclear if she’s the same one he had to let go. Behind the Scenes of a Historic Film Deal Perry also made headlines for revealing his behind-the-scenes role in helping Black Panther director Ryan Coogler secure one of the most talked-about film deals in recent memory for his upcoming feature Sinners. “Everybody’s talking about this $360 million Sinners deal, and how Ryan gets full ownership after 25 years with first-dollar gross,” Perry said. “Well, I called him after Black Panther and said, ‘Let me show you how to do it.’ I gave him the game. I’m proud of him.” While Coogler hadn’t previously shared that Perry advised him on the deal, the acknowledgment sheds light on the quiet mentorship that exists between prominent Black creatives in Hollywood. On Being Underestimated—and Using It as Leverage Perry, who rose to fame with Diary of a Mad Black Woman—a film many critics dismissed before it opened to a surprising $20 million—also spoke about how being underestimated worked to his advantage in business negotiations. “They said that movie would only make $5 million,” Perry said. “People thought it was just a ‘Black movie.’ But being underestimated let me make the best deals.” He emphasized the continued struggle for equity in the industry, revealing that while a white peer earns $27 million for writing a single TV episode, Perry often gets less than $4 million for similar work. “I still have to fight for budgets and access,” he said. “That’s why I tell people—don’t go into the room with your résumé trying to impress. Go in and make the best deal possible.”