“That has been a response I’ve been getting, people being like, ‘It has to be one or the other,’” he says.
WORLD STAR HIP HOP HOES MOVIE
The unique mix of horror and comedy in The Blackening was confusing to some who, given the limited number of Black films in the genre, had a hard time conceptualizing a Black horror movie that wasn’t a balls-to-the-wall spoof, à la the Scary Movie franchise, or weighty like the Oscar winner Get Out. We just have not allowed these people to have the space to be real, to get to know them, because they are usually used to amplify someone else’s narrative or as a joke.” By the end of the film, we’re like, These are not tropes. “The whole film is breaking away the perception of who we think these people are. They are a version of a character that we’ve seen in movies,” he says. “At the beginning of the film, you’re like, Oh, these are tropes.
WORLD STAR HIP HOP HOES SERIES
“Then, I looked at the comments because I’m a masochist, and there was this one comment that was like, ‘These f-s are funny.’ And I was like, We won!”Ī queer comedian who’s written for a number of series including Brooklyn Nine-Nine, the critically beloved Saved by the Bell reboot, and The Amber Ruffin Show, Perkins intentionally used familiar archetypes-the party girl, the reformed thug, the gay best friend-in creating the seven friends, played by Perkins, X Mayo, Melvin Gregg, Grace Byers, Antoinette Robertson, Sinqua Walls, and Jermaine Fowler. “It was put on World Star Hip Hop, and I was like, Oh, no, what is this going to be?,” Perkins says. That point clearly resonated with audiences as Perkins’s idea grew from a Second City sketch into a theatrical production at DC’s Woolly Mammoth Theater, into a viral Comedy Central sketch via Perkins’s improv group, 3Peat. The premise revealed itself at once: If everyone is Black, who dies first? “I was like, Okay, I really want to write something that speaks to Blackness and this cast is all Black, but I really want to speak to the diversity within Blackness.” He landed on the well-worn trope of the Black person always getting killed off first in horror movies, like The Shining, Scream 2, and, as it turns out, Candyman. “I was part of an all-Black sketch group, and we needed an opener scene,” he says. Perkins cowrote the film with Girls Trip scribe Tracy Oliver and stars in the **Tim Story–**directed film based on a sketch that he wrote in Chicago in 2016 for a show called “Afrofuturism” at Second City. Currently playing in theaters, his first feature film, The Blackening, finds a group of Black friends beset by a Saw-style killer as they celebrate Juneteenth in a cabin in the woods. It’s been a good time, my eight years of life.”īut what might have been a traumatic experience for an average eight-year-old gave Perkins a lifelong love of the genre, a love that’s currently paying dividends. “My father, being a big Black man, was standing in the hallway with just his silhouette,” Perkins tells me while sipping a watermelon margarita at the 1 Hotel Central Park. The first time Dewayne Perkins watched Candyman with his family as a child in Chicago, the power went out.
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