Official Black Panther MCU Thread

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Bawon Samedi

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Danie84

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boxfullofjoel said:
Saw it yesterday. off the top of mind

  • Great movie , almost like a standalone world
  • Reminded me of more OG Star Wars, storylines, nuances, characters, world building
  • Killmonger is the most driven vilain we have seen cmb. Angry smart, motivated, skillful. he used and disposed everyone to get back home and take the throne. He was more darth vader than joker imo.
  • Coogler is a genius, he was able to balance a dozen agendas and gives us a great film. nearly inpossible to do.
  • Great acting from everyone, great subtle lines all over the place.

Going to gave to see it again. Young Erik response to his dad about tears

:mjcry:
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"No tears for me," then Young E paraphrase 'People 'round here die everyday':dame::sadcam::damn::wow:
 
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The axe murderer

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pete clemenza said:
Also Wakanda not helping other blacks world wide is bad but at the same time its interesting. Wakanda is not the perfect nation for all black people and its not trying to be everything for every type black person. They're strictly into Wakanda and Wakandians. In real life and lot of African countries have horrible government and internal problems. Wakana has a rich and narcissists vibe and Killmonger called them out on it. I just think it helps story and plot wise for now into the future that they're not fully into the ideal of saving the black race as a whole. At the end they started to feel like yeah we should be doing more for the expats. Sometimes you're not really aware of the shyt you're doing until somebody calls you out on it and then it dawns on you all of a sudden.
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They had the cure for cancer and they with held it.That is the ultimate dikk move imo. So it really doesn't surprise me that they didn't help the rest of the continent. Who knows what other life saving tech they are with holding
 
doublex

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A great article about why Killmonger works so well as a villain: How ‘Black Panther’ Solves Marvel’s Villain Problem

Making a great hero-villain narrative is not as simple as throwing a great hero and a great villain into a bowl and stirring to combine because the individual components cannot be made in a vacuum. One of the things that so often make a hero and an accompanying villain great is the way they reflect and illuminate each other. I’ve mentioned before that there is no magic formula for a great villain, and one of the reasons why is because of what we might call hero-villain interdependency. They have to be tailor-made to fit. Truly great villains are foils of their respective heroes, and vice-versa. Like distorted mirror images, they are often at once opposite and, at least in some regards, uncannily similar.

Many of the greatest hero/villain pairs to grace screens so far in the 21st century fit this pattern—agonistic halves of something resembling a whole. Rey and Kylo Ren in Star Wars, two desperately lonely souls searching for purpose and belonging while trying to deal with the weight of their extraordinary, intimidating powers. Professor X and Magneto, both determined to protect and serve their fellow mutants but with very different ideas about what kinds of sacrifices are appropriate to make in service of that end and how humans fit into the mix. Frodo Baggins, the everyman hero, and Gollum, the monster he risks becoming. Jon Snow and Ramsay Bolton, b*stards both driven by a desire to prove their worth and emulate their fathers’ (well, father-uncle, in Jon’s case) best-known qualities—the former’s honor and the latter’s Machiavellian cunning. Bruce Wayne, a billionaire who creates the Batman persona to fight the corruption within the system with a strict code of vigilante conduct, and the Joker, a loose cannon of a man whose love of destruction cannot be boiled down to a desire for money nor power in any traditional sense.

And then there’s T’Challa (Chadwick Boseman) and Killmonger. One of the most striking parallels between them is that we do not have to guess that T’Challa had the potential to go down a vengeful path similar to his foe—we saw it happen in Captain America: Civil War. Following the explosion at the U.N., T’Challa is not only determined to kill Bucky Barnes but also not opposed to doing what he must to remove anyone that stands in his way. Seeing how quickly Zemo’s manipulations caused the Avengers to implode becomes an eye-opener for T’Challa, the grounds for an epiphany that allows him to turn away from what could have easily become a destructive path, a revelation that comes early enough that he is able to turn back from this path before doing any damage that could not be undone. And after all, ultimately, Bucky Barnes was framed for that crime. King T’Chaka was not. He did kill his brother, leaving behind a nephew and effectively denying the boy any possibility of connecting with his own identity and heritage.

T’Challa and Killmonger both lose their fathers suddenly in violent attacks. But when T’Challa loses his father, he inherits a throne. When Killmonger loses his father, he loses any connection he could have had to a Wakandan identity. While T’Challa is not T’Chaka, until facing Killmonger and learning truths his father would have rather kept hidden, T’Challa places his father on a pedestal as his reference point for what a good man and a good king should be. He seeks to be his father, to emulate his father in all things, until Killmonger lays bare the whole truth.

Having heroes or the society they represent and protect create the monsters they then must face is a much-loved narrative and for good reason. It’s got the huge potential for emotional and intellectual heft, and when done well, an incredibly compelling elegance. And ultimately, it rings true. We do create our own monsters, both as individuals and as a society.
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