All language subtitles for Atlanta s04e08 The Goof Who Sat by the Door.eng

♪

[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 nother 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 erup.

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 animato,

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 ou.

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 nevr

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 makr
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 representd
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 anymor.

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 ther,
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 laug.
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 o.

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 poin.

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.♪

Captioned by
Media Access Group at WGBH

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