In the opening monologue of Fight Night: The Million Dollar Heist, Gordon “Chicken Man” Williams, portrayed by Kevin Hart, sets the stage for Peacock’s eight-part limited series, now streaming its first three episodes.
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| Kevin Hart as Gordon 'Chicken Man' Williams. Eli Joshua Adé/PEACOCK |
“You know they razed Atlanta to the ground,” Chicken Man says to his friend, who manages a funeral home and is preparing a body for a casket. “They turned it to ashes, just like in that old Gone with the Wind movie. But Atlanta came back, rebuilt itself! How did we do that?
It’s because of us. Because of Black folks. That’s how we made it happen. They pulled the same stunt in Chicago, too. But we’re not Chicago, not by a long shot. We’re not like Chicago, New York, or L.A. Down here, we’re different. Know why we’re different? Because down here, folks think differently, move differently. We understand our history, but we don’t let our history mess up our hustle.”
Fight Night: The Million Dollar Heist, based on a 2020 iHeart true-crime podcast about events in Atlanta, Georgia, in 1970, follows Chicken Man, a small-time hustler running a gambling operation on the city's streets. He’s aiming for something grander for himself and his family, which includes his devout wife and kids, as well as his mistress, Vivian Thomas, played by Taraji P. Henson. He also wants to improve his beloved city.
However, Chicken Man and his city face a series of severe challenges, including what many view as the most audacious armed robbery in Atlanta’s history. This unfolds against the backdrop of an unauthorized fight featuring Muhammad Ali, who was then banned from boxing due to his stance against the Vietnam War and his refusal to be drafted.
Originally presented in podcast format (produced by Will Packer, who serves as an executive producer here), Chicken Man Williams organizes a major gambling afterparty at a house, inviting top organized crime figures from across the nation, including New York boss Frank Moten (Samuel L. Jackson) and New Jersey crime leader Cadillac Richie (Terrence Howard).
They are informed that no firearms are allowed, and Chicken Man hopes this event will elevate him to greater success. However, masked robbers armed with shotguns and pistols storm the party; they steal money and jewelry and force the attendees to strip down to their underwear and remain silent in the basement for hours as new guests arrive to face the same fate.
After the robbers depart, the mob bosses are enraged and seek revenge. The first person they blame is Chicken Man. He is the one who organized the event, instructed no weapons, and invited them. Despite being a victim of the robbery, Chicken Man is now fleeing from both vengeful gangsters and the Atlanta police, trying to clear his name.
He reluctantly turns to J.D. Hudson, a Black Atlanta Police Detective who previously imprisoned him, played by Don Cheadle. Chicken Man hopes Hudson will help him identify the real thieves and prove his innocence to both the police and the mobsters who want him dead.
The Reporter recently spoke with Hart and Bryan Smiley, Hart’s partner at Hartbeat Productions and fellow executive producer of Fight Night. Hart and Smiley discuss Chicken Man Williams and their decision to transform the podcast into a limited series, which they view as a tribute to the city of Atlanta.
In the opening monologue, Chicken Man discusses the differences between “Black folks” in Atlanta and those in places like Chicago, L.A., etc. Can you elaborate on Chicken Man’s perspective on Atlanta’s growth and whether his ambitions with the party were solely about improving his own life?
KEVIN HART: In the 1970s, people of color from the South were often viewed through a certain lens, right? Chicken Man’s message is clear: We’re not foolish or naive. We’re intelligent, and once you recognize our intelligence, you’ll grasp the broader vision of change.
Chicken Man wanted to be a symbol of smart business acumen and connectivity among top figures and gangsters. His confidence stems from a desire to challenge stereotypes. He aims to shift perceptions, showing that once one person changes their view, that change will spread.
That’s the essence of the monologue—making people understand his mission and ensuring that his message reaches a broader audience. Hustlers like Chicken Man thrive on influencing dialogue and spreading their vision.
BRYAN SMILEY: You mentioned some iconic ‘70s films like Let’s Do It Again and Uptown Saturday Night. Those were definitely inspirations for us, and I believe we captured that essence.
However, this story stands out on its own. It’s a tribute to Atlanta with a fantastic cast and crew. Thanks to Craig Brewer’s direction and Shaye Ogbonna’s showrunning, we’ve created something special. I believe this series will remain relevant and cherished for years to come.
HART: Our main goal was to present a premium cultural IP—a standout piece of content featuring top talent, all working towards the same objective. We aimed to create something noteworthy for the year through collaboration.
By drawing on influences from projects like Boomerang and Harlem Nights, we sought to bridge the gap between these cultural milestones. Hartbeat’s mission is to provide content that closes this gap, delivering a consistent and engaging portrayal of our stories
We partnered with Peacock and Will Packer’s production company to bring together the best creators and visionaries, ensuring we present compelling narratives that resonate with audiences who might be unfamiliar with these stories. That’s our priority.
The series has a serious tone, but who brought humor to the set?
Chloe Bailey is incredibly funny—she kept us laughing constantly. Don Cheadle, with his unique sense of humor, was a joy to work with. Samuel L. Jackson—his intense presence is matched by his wit. Working with Sam is always a lesson.
I also have to mention Taraji P. Henson and Terrence Howard—they all contributed significantly to making our time on set enjoyable. It’s hard to single out just one person when everyone added their own spark.