Atlanta (2016) s04e08 Episode Script

1
[PROJECTOR CLICKING]
JENNA WORTHAM: The
1990s were a golden era
for The Walt Disney Company.
The Little Mermaid
revived the company
from the edge of bankruptcy.
Beauty and the Beast earned
a Best Picture nomination.
And The Lion King broke
box office records worldwide.
[HELICOPTER BLADES WHIRRING]
But the reality just miles
away was no fairy tale.
In 1992, a state jury acquitted
four LAPD officers on almost all charges
in the beating of Rodney G. King.
The response was anger.
Fire, chaos,
massive citywide destruction.
It was a pivotal moment for
Black culture in the '90s.
But it's a little-known fact
that another cultural milestone
emerged from that fateful day.
[PROJECTOR CLICKING]
It's a story so unbelievable,
it could only
happen in Hollywood.
How did this young,
Black, unassuming animator
from East Atlanta wind up
as the CEO of Disney
at the company's most
powerful moment in time?
- WOMAN: Okay, rolling.
- MAN: Speed.
EVELYN: Believe it or not,
we named him after Tom Jones.
[GRUNTS]
Yeah!
EVELYN: His father
used to play Tom Jones.
That's how he first courted me.
He would do a little
dance and we would laugh.
I got to tell you a story ♪
Every man ought
to know ♪
Usually, the boys
in Ronald's family
was named after their fathers,
but when we had our
boy, we knew that
he was gonna be different,
so we had to do
something different.
We had to name him Thomas.
T loved cartoons something crazy.
I mean, he was always
drawing on his desk, uh,
in, uh, in the margins of his
notebook, in the textbooks,
all on the walls, man.
He just drove our teachers crazy.
He was obsessed with this
one cat named, um, Blasto Boy?
No, no, no, Astro Boy.
Yeah, yeah, I used
to watch it with him,
and I remember thinking
this is kind of boring. [LAUGHS]
But Thomas loved it, man.
He drew he drew that dude everywhere.
One time, he asked me, he said,
"What if Astro Boy came
here and saved us?"
I said, "Saved us from what?"
And he just kind of shrugged
and said, "Everything."
I mean, what kind
of eight-year-old
is thinking like that, you know?
I mean, I think he was scared.
He wasn't no punk, I'm
just saying, I don't
think he ever understood
why the world was so unfair.
And where we were growing up
it was, like,
unfair unfair, you know?
I mean, you could be
sitting at home watching
a program with white
folks with nice houses.
We couldn't even ride
ours bikes outside,
cause niggas will
take it from you.
Straight to your face,
they do not care. Crime?
What, so? They will
ride your bike in front
of your house the next day.
Yeah, unfair. [CHUCKLES]
EVELYN: The boys picked on him.
He would come home sometimes with pages
torn out of his little sketchbook.
PHILIP: Yeah, we
would call him white.
We was just messing with him.
Um, I think he was
just trying to fit in,
but he wasn't really like us, you know?
And the kids would call him on it.
I mean, he just wanted to draw,
and he didn't understand why
that wasn't "cool," you know?
I mean, niggas will make
fun of you for anything,
and I don't think Thomas
was built to take it.
EVELYN: I told him, "Son,
one day, ain't none of
this gonna even matter."
JENNA: In 1987, Thomas
left East Atlanta to attend
Savannah College of Art
and Design, or SCAD.
It was here that Thomas's
creative dreams
began to take shape.
MARK DILLARD: We didn't have a lot of
Black students in the program then.
Thomas showed a lot of promise.
In his application, he
wrote about how he wanted
to work at Disney one day.
We usually laugh at that sort of thing.
Everybody says that, you know?
But with his application,
he sent a little flip-book.
Can you see this?
I mean, he had the sensibility
and the wit of a true Disney animator.
Art Babbitt was a big name at
Disney Animation for a time.
As an animator in
the '30s and '40s,
he racked up a lot of credits,
and enemies,
but he was most well-known for
developing the character of Goofy.
He came to SCAD, and he spoke.
Thomas really gravitated to him.
He became obsessed,
and he really glommed
on to Babbitt's article
"Analysis of the Goof."
Art describes Goofy.
He says, "Think of
the Goof as a composite
"of an everlasting optimist,
a gullible Good Samaritan,
"a half-wit, a shiftless,
"good-natured colored boy,
"and a hick.
"He is loose-jointed
"and gangly, but not rubbery.
"He can move fast if he
has to, but would rather
"avoid overexertion,
"so he takes what seems the easiest way.
"He is a philosopher of
the barber shop variety.
"No matter what happens,
he accepts it finally
as being for the best
or at least amusing."
Thomas used this text
as the center of a piece
of a series he called "Goofy, Please."
After class one day, he showed
me some of these pieces,
and I looked at it,
and I looked at him,
and I thought,
"This kid is from another universe,
like, a whole another planet."
Thomas would be like, "Hey, come on,
you know Goofy's a [BLEEP]."
[LAUGHS]: And we would just laugh, man.
We just thought that was so funny.
It was clear that
Thomas was very talented.
For his thesis,
he made this incredible short film.
Well, I'd like
to visit the moon ♪
On a rocket ship
high in the air ♪
He had little screenings;
teachers would
come, and students.
The film felt so deep.
I-I think it was
somehow connected to him
losing his father in freshman year.
I would miss all
the places and ♪
PHILIP: Uncle Ronnie
dying changed him, man.
Thomas was in his
freshman year at SCAD,
and I didn't think he was
going to make it, but, uh,
once we buried my Uncle Ronnie, man,
he, uh it's like his brain exploded.
MARK: Depending on who saw
it and when they saw it,
it was either the funniest thing,
or the saddest thing
you'd ever seen.
That short was what got him into Disney.
No question.
JENNA: Washington comes to Disney
right out of college, fresh from SCAD.
You know, he's there, the
company's doing pretty well,
they've just had their hit
with The Little Mermaid.
LEONARD TRUSSEL: One of the things
that-that I'm glad that I was
able to be part of was that, um,
Disney instituted
this diversity program.
We knew that we needed
to bring in younger voices
from a diversified point of view,
and that would actually, uh,
strengthen our company.
And Thomas was one
of the first of those.
JENNA: Thomas started out at
Disney as an assistant animator
on DuckTales the Movie:
Treasure of the Lost Lamp.
It wasn't necessarily
creative work,
but things are fine, you know.
It's not really moving
as fast as he wants things
to be moving, but he's doing all right.
And then the uprisings happened.
[HELICOPTER BLADES WHIRRING]
[SIRENS WAILING]
EVELYN: When the
shooting happened,
and then the riots,
Thomas was working in L.A.
He called me and he said, "Mama,
I just want to go down there."
And I told him,
"Son, you need to riot
with that pen and paper."
He was shook.
I could see it in him, he was shook.
He actually called me
one time and was like,
"If I ever get the chance
to do a movie around here,
I'm not holding back."
- [SIRENS WAILING]
- [PROTESTORS SHOUTING]
[HELICOPTER PASSING]
JENNA: While South
Central Los Angeles
was engulfed in flames,
15 miles north in Burbank,
another fire was about to erupt.
What happened next is
one of the most unlikely
and unprecedented events in the
history of corporate America.
After the success of
Beauty and the Beast,
Michael Eisner put Dennis
Stephenson in charge
while he went on a sabbatical.
But two weeks into the job,
Stephenson had a health emergency
and passed shortly thereafter
leaving the job open once more.
We all voted for this guy
named Tom Washington.
But we didn't realize
that Tom's first name
was actually
Thompson, not Thomas.
Thomas Washington
was an animator.
People were pretty upset
when they found out
they voted for the wrong man.
It felt like an honest mistake that we
could sweep under the rug, but
after Beauty and the Beast,
there were a lot of eyes on us.
We tried to handle it smoothly,
but Thomas held our feet to the fire.
JENNA: So, because of this,
you know, "behind closed door,
boys' club" handshake,
Disney is now in radical
new territory but entirely by default.
So you have this young animator,
this young, Black animator
who comes into this company,
all of a sudden has a ton
of power at a hugely
culturally significant moment,
and he wants to do something with it.
He wants to prove himself.
PHILIP: This cat was on my
line with some foolishness,
talking about he's
the CEO of Disney.
I was, I was crying laughing.
[LAUGHS]
And then, you know, he
took me to his office
and people was, like, greeting him.
First day, he took us all into a room
that we call the stock room,
which is where everybody
hangs out before we get to work.
And he shows us a frame of animation
of Goofy in Mickey's trailer, and, uh,
Mickey has Pluto on a leash.
And it gets real quiet,
and, uh, Washington goes,
"Why is Goofy letting
Mickey do that?"
He's a very fine dog, sir.
And, you know, we're all
confused, we're just looking
at each other, and Charlie
goes, "What do you mean, sir?"
And Washington goes, "Goofy's a dog,
"and Pluto's a dog, so
why is he letting Mickey
do that to one of his own?"
Yeah, T had them running
scared from day one.
I was, uh, fresh-faced and wild-eyed.
I was an inbetweener
for about three years,
didn't see much movement.
An inbetweener was usually for
animators just starting out.
So, say a character slaps
somebody across the face.
They would get a senior
artist to do the fun part,
drawing the first and the last
frame that define the movement.
The inbetweener draws all the
many little frames in between.
I was stuck as an inbetweener
for years and years,
but as soon as Thomas came in, he said,
"I want you to be
lead director on this."
And I said, "On
what?" And he said,
"The Blackest movie of all time."
- Check, check, uh ♪
- Get it, get, get ♪
He said he wanted to make a
movie about Black fatherhood.
Get, get, get it ♪
Man, he wanted to tackle
everything in this movie.
Segregation, single parenting,
low-income career trajectories,
fear of gang violence,
incarceration,
the amount of cheese in
African-American diets.
He wanted to make a movie that
covered all this and more
and he said he knew the
perfect character to do it.
Swingin' while
I'm singin' ♪
Hey! ♪
Thomas, man, he knew that people thought
Goofy was dumb, but
he wanted to show
the systemic factors that
Goofy was dealing with.
A shitty job, angry kid,
and embarrassed by
his lack of influence.
Man, it was wild how deep
he leaned in to all this,
'cause, uh, as far as I knew,
Thomas had a really solid homelife.
It's a vacation with
me and my best buddy.
Oh, Donald Duck?
No, silly, with you!
ANNA SPEILMAN: Thomas and
I, we were married young.
We didn't have much,
and, um, you know what, he never
let that get in the
way of us, though.
If there was something
we couldn't afford,
he would just draw it.
You know, you'd
wake up and I would
see anything from a coffee
maker to a solid-gold jet
on the refrigerator in the morning.
That was Thomas.
We-we had our son
Maxwell pretty early.
He and Thomas, they
were inseparable.
He did everything for that boy.
Oh, my God, look at this
Oh, look at this!
Thomas kept saying that
A Goofy Movie was for him.
He'd say, "If I'm not here,
you can show him this."
I was too scared to ask
him what he meant by that.
To give you a little context,
when A Goofy Movie came out,
Black masculinity in the media
was in a really weird place.
- Hello, I'm Blaine Edwards.
- And I'm Antoine Merriweather!
And welcome to Men on Films.
The show that looks at movies
From a male point of view.
JENNA: So on one hand,
you've got men doing, kind of
"faux queer" comedy,
and on the other end
of the spectrum, you've got
these hypermasculine portrayals.
Am I my brother's keeper?
Yes, I am.
And, by contrast, Goofy
is a nuanced portrayal
of a Black man
whose priority is his family.
- What?
- Nothin'.
Goofy really put forward
the philosophy that
just love your children for
who they are and accept them,
and deal with the
pain that the world
is not going to love them like you do.
I think in the movie, Dad
laid in a lot of things.
I-I notice it more now than I did then.
If I could make you
stop and take a look ♪
At me instead of just ♪
MAXWELL: In the beginning,
Max sings a song,
dunks a basketball, and then
is cheered on by his peers.
I think my dad was making a comment
on Black exceptionalism
and how some people believe
that performative assimilation
is the best way to get by.
My dad wanted to prove those
limitations were just that,
limits put on us by outsiders.
That's why he made it a fishing trip.
It's the same one we
used to take. [CHUCKLES]
FRANK: The trip was
supposed to start out
as sort of like a freedom ride.
And the map, which
is central to the plot
of the film and also represented
Goofy's trust in his son Max,
was supposed to remind the viewer
of the Green Book
and how Black travelers
had to use it to advance their way
through the Jim Crow South
during the '30s and the '40s.
A lot of the film had deeper meanings,
and word got around that it
meant a lot more in Thomas's eyes.
MAXWELL: Dad wanted every Black
person in America to feel like
they were just a road trip away
from being part of a movement.
Even if their kids didn't
understand the stakes.
It was about destiny
and how our children,
our future, get to draw our path.
I want to get us to doing something
we've never done before.
We have never truly drawn
authentically Black characters,
characters that act
Now, see, this is
what I'm talking about.
This is what I'm talking about.
In order to draw
authentically Black characters,
one has to know Black people.
Okay? Now, Tom went out on assignment.
Researched, hung out, went
to a couple Black cookouts.
Said the wrong thing, got
his ass beat, but now, now?
He's more aware, he's more knowledgeable
of how to draw. Okay?
Thomas tried to pull back and be more
subtle with his message, uh,
when the complaints started,
and we were getting
complaints from everywhere.
But there was nothing
subtle about Thomas.
At one point, he said he
didn't want Mickey in the movie.
And, um, I kept saying,
"But it's Disney. What
are you talking about?"
I can remember Thomas
ranting in his office,
"They're trying to make me put
this white boy in my movie."
And I'm thinking, "He's a mouse."
He told me from the beginning,
"I'm not here for a long time,
I'm here for a good time."
Uh, he knew he was
going to get fired,
but the "when" of
it was fun for him.
It was like a game.
We had 15, 16, sometimes 18-hour days.
And, uh, he would be screaming,
"We don't dance like that."
And he would bring his friend's kids in
and, uh, they would moonwalk and,
and, you know, do all, like,
you know, this stuff, you know?
Oh, man, I must have drawn a pair
of gloves dapping, I don't
know, over 5,000 times?
I just kept hearing, "That's
not a dap, that's not a dap.
Where's the snap?"
You see my knees?
You see this, see this
angle of these knees?
Draw Draw this! Get this down, okay?
One time, I just couldn't take it
My fingers were just bleeding
So I went up to talk to him,
and he was up there drinking
whiskey with Robert Townsend,
and Janet Jackson, uh,
Sinbad and Adina Howard.
Well, when I poked my
head in, Thomas went,
"Who ordered the white rice?"
[SCOFFS] And they all just laughed,
and, uh, I just didn't get it.
BRIAN McKNIGHT: Everybody
used to be up there.
Eddie Murphy, Arsenio
Hall, Kadeem Hardison,
Harrison Ford, it was crazy.
The parties were insane.
Imagine Disney after
The Lion King.
You got this smooth-looking
brother at the helm.
[EXHALES]
It was crazy he even
had that office.
Everyone would go up
there and just hang
as we plotted our
overthrow of Hollywood.
You couldn't tell us nothing.
They had a big musical number planned
with Bryan Adams in the movie.
And one day, Thomas asked me to come by
and see what he's working on.
And we're walking through,
and he stops in one
of the rooms and plays
me some of the music.
And I'm like, "Yeah,
you know, pop ballad.
"You know, same old, same old.
You know, it's-it's
good, it's-it's cool."
But he asks me, "Who
do you like right now?"
I'm like, "You know,
I-I've been listening
to this Tevin Campbell."
And from then on, it just
had to be Tevin Campbell.
Last night I, I saw you ♪
Standing ♪
And I started ♪
Started pretending ♪
BRIAN: Most of the cats
around there didn't
even know who Tevin Campbell was.
For three months, a lot of
them were saying Kevin Campbell.
Can we talk, baby, can
we talk for a minute? ♪
Girl, I want to
know your name ♪
I want to know your name ♪
SINBAD: Thomas was a cool cat.
But the brother definitely
had a chip on his shoulder.
He didn't like it if you
challenged his Blackness.
FRANK: I think there
was a part of Thomas
that kind of felt that being an animator
wasn't innately Black, you know?
And he wanted to make it Black,
he wanted to make it cool.
He wanted to-to carve out
his own space and not feel
that he was divorced from
his own culture, you know.
He was loading his culture
into this stuff that
we were doing so that
it just seemed normal
and would seem normal to the rest of us.
He had a lot of pressure, man
The culture, the job itself,
what-what he was trying to live
up to that I'm not even sure
that he knew that he
could live up to it.
And, uh, it had to
take a huge toll on him.
One morning I walk in the
studio, I got my coffee,
I'm ready to sit down,
get to busi business.
And Thomas like, "Psst!
Psst! Come here, come here!"
So I go over there and,
uh, he's in his cubicle,
he got this briefcase, he opens it up,
there's a gun inside!
I'm like, "Dude, what-what is this?
What's it for?"
And he's like, "This
is to remind me that
they don't know who the fuck I am."
MAXWELL: Dad kind of
started to lose it.
He would stay up all
night, talk to hisself.
After a while, Mom
she had had enough.
After a while, Mom
couldn't take it anymore.
He had just gotten too mean.
ANNA: We had so much fun.
But then, it wasn't fun anymore.
He had been fooling around, yeah.
And drinking a lot,
and he got pretty mean.
He would say some mean,
nasty things to me,
which he never, he had
never done that before.
I remember at one time,
Maxwell tried to step in
between his dad and I,
and Thomas
was not kind. He kind of
[INHALES SHARPLY, SIGHS]
He kind of raised his, um
he raised his fist
at Maxwell.
That wasn't cool, because they
they had always been so close.
He was a
he was a really good father.
I mean, at least he tried
to be a good father.
I kept saying, "Thomas,
"you're going to lose him,
you're going to lose your son."
But all he kept
saying is [SIGHS]
"But this is for him."
FRANK: I knew things
were going downhill when
Thomas's wife left him.
Sh-She had been there
from the beginning.
And he started sleeping in his office.
And, um, one day, there
was a board meeting.
All the Disney heads were
there, and they started talking
about the budget was
going a bit high on Goofy.
And one of the guys asked
Thomas, he said, uh,
"Are you in control
of the budget?"
And Thomas said, "Of course I am.
I'm Goofy."
And then,
he did this this
chilling laugh. Like
[IMITATING GOOFY'S LAUGH]
You know, l-like Goofy, but broken.
[VOICE BREAKING]: And
it-it was terrifying, man.
I almost started crying.
He really thought he was Goofy.
LEONARD: The company
knew he had to go,
but legally, he was still the CEO.
That gentleman's show
of hands was, uh,
surprisingly hard to go back on.
You know, they even tried to
buy him out of his contract.
Yeah, they offered him, like $75,000.
No, no.
We offered him $75 million,
paid out over ten years.
Um, that's how that's
how serious it was for us.
I mean, he didn't take it.
But, uh, maybe he should
have taken it, you know?
FRANK: He started
getting really paranoid.
He'd say he was afraid for his life,
but he'd never say from whom.
CHRIS: Suddenly, there were
a bunch of guys in bow ties
hanging around the office.
He introduced us to
one of them saying,
"I want you to meet my
new head of security,
Al Shaheim X."
The thing not a lot
of people knew about,
was Thomas had been going around town
letting a lot of people know
how huge this was going to be,
and he had a lot of different
Black empowerment groups,
radical movements, and just
straight-up gangs all wanting
as much influence and subtle
shout-outs as the other.
You know, I think
that he had made
way too many deals at one point.
At least, that's what
that's what I heard.
Truthfully, it all came
down to the end of the movie.
Really.
CHRIS: Oh, man, the
end of the movie.
I heard he wanted Goofy
and Max to get pulled over
early on and, uh, you know
[GUNSHOT ECHOES]
Wh-Why would he do that?
That makes no sense.
FRANK: That Powerline
concert at the end,
it wasn't supposed to be all
hunky-dory, dancing-dancing.
Nah, it wasn't supposed
to be like that at all.
[ELECTRICITY CRACKLING]
PHILIP: I heard Goofy was supposed
to get shot at the concert.
You know, a Black
man runs onstage
like that at a major
venue? Come on, man.
There's something wrong here.
Thomas was trying to make a statement.
PRODUCER: Do you, uh, think
his death was an accident?
Next question, man.
No, I don't.
I-I've never thought
it was an accident.
PRODUCER: Why not?
Um, well
partly because of
his-his mood at the end,
but, um, you know,
there was also the tape.
What tape?
THOMAS: For the
first time ever ♪
Seeing it eye to eye ♪
Oh, I'm so sorry.
Oh, man, I
Ooh, I'm close, I'm-I'm close
I'm so close.
[SHUDDERS]
[BREATHING HEAVILY]
I got to finish this.
[CRYING]: I got to finish it.
BRIAN: Back then, mental health
wasn't something that we talked about.
I didn't even know what to characterize
what I saw him going through,
what it what it was.
I just knew he was going
through something, um,
something that was very, very
difficult for him to deal with.
This is a little hard for me right now.
I-I don't know why.
When the news finally broke
that Dad was officially out,
they let him back on the
lot for one final screening
of what they were able to
piece together behind his back.
[PROJECTOR CLICKING]
He didn't know they
had been working
on the movie without him
changing and corrupting
his original vision.
He-he didn't take the news well.
I was at that last screening.
It was the Bigfoot stuff
that put him over the edge.
FRANK: They'd added it
without his knowledge.
He'd wanted Goofy and Max
to wander into a thrift store
and discover Huey
Newton's rattan throne.
And once they sat in it,
Max would finally understand
what Goofy had been fighting
to make him understand all along.
Instead, they took out the
thrift store and the throne
and put in that Bigfoot bit.
It's like they were saying,
"What you were after,
"your message, it's a fantasy as elusive
and unreal as Bigfoot."
You're going to see
you're going to be proud of me
I'm doing this for you.
I'm doing this for all of us.
[BREATHING HEAVILY]
Oh, man.
[CRYING]
GARY: I could feel
him get up and leave
and I-I heard the door close
and I went out after him,
and by the time I got to
the parking lot, he was gone.
Something I don't know,
there was a look in his eye.
He-he just got in the
car and he took off
and didn't come back.
MAXWELL: They, um
they never found his body.
I think that was
especially hard for Mom.
Dad!
ANNA: We actually watch
we watch the movies a lot.
Uh, I couldn't for a while.
But but once I did, I couldn't stop.
It's like, um,
it was like having him around,
you know, in a fun way.
Yeah.
You know that, uh, "Damn,
you live like this?" meme?
It's so funny to me
because the essence of it
is those drawings he did in college.
Black folks living their
lives, being funny,
being free, being real.
[SCOFFS]
ANNA: He would've
been really proud that
he became part of the culture.
I think that's what
he wanted in the end,
to just be part of the family.
And along the way
he made the Blackest movie of all time.
Yeah, yeah ♪
Got myself a notion ♪
One I know that
you'll understand ♪
To set the
world in motion ♪
By reaching out for
each other's hands ♪
Maybe we'll discover What we
should have known all along ♪
Yeah ♪
One way or another ♪
Together's where
we both belong ♪
If we listen to
each other's heart ♪
Oh, yeah ♪
We'll find we're
never too far apart ♪
And maybe love
is the reason why ♪
For the first time ever,
we're seeing it eye to eye. ♪