Official Black Panther MCU Thread

[Majestyx]

thread too long for me to try to search thru. but i wonder why they didnt put the south african song T'Challa's sister was playing in the lab on the sdtrk.



if this was discussed already, my bad

 

[Code]

BP's expected to beat Avatar's 3rd weekend, 2 Billion is pretty much guaranteed.

‘Black Panther’ to Continue Box Office Reign as ‘Red Sparrow,’ ‘Death Wish’ Debut

 

[Dr. Narcisse]

@Rapmastermind @Ziggiy @NobodyReally @Diasporan Royalty @Birnin Zana @Primetime @mastermind

Which makes it a real shame that Black Panther, a movie unique for its black star power and its many thoughtful portrayals of strong black women, depends on a shocking devaluation of black American men.


Wakanda is a fictional nation in Africa, a marvel beyond all marvels. Its stupendous wealth and technological advancement reaches beyond anything the folks in MIT’s labs could dream of. The source of all this wonder is vibranium, a substance miraculous in ways that the movie does not bother to explain. But so far as we understand, it is a potent energy source as well as an unmatched raw material. A meteor rich in vibranium, which crashed ages ago into the land that would become Wakanda, made Wakanda so powerful that the terrors of colonialism and imperialism passed it by. Using technology to hide its good fortune, the country plays the part of a poor, third-world African nation. In reality, it thrives, and its isolationist policies protect it from anti-black racism. The Wakandans understand events in the outside world and know that they are spared. This triumphant lore—the vibranium and the Wakandans’ secret history and superiority—are more than imaginative window-dressing. They go to the heart of the mistaken perception thatBlack Panther is a movie about black liberation.

A movie unique for its black star power depends on a shocking devaluation of black American men.

In Black Panther, T’Challa (Chadwick Boseman) has risen to the throne of Wakanda. We know that his father, T’Chaka, the previous king, died in a bomb attack. T’Challa worships his father for being wise and good and wants to walk in his footsteps. But a heartbreaking revelation will sorely challenge T’Challa’s idealized image of his father.

The movie’s initial action sequences focus on a criminal partnership between arms dealer Ulysses Klaue (Andy Serkis) and Eric Killmonger (Michael B. Jordan). They both seek vibranium but for different reasons: Klaue is trying to profit from Wakanda’s wonder-material; Killmonger is trying to make his way to Wakanda to make a bid for the throne. He believes he is the rightful king.

Killmonger, it turns out, is T’Challa’s cousin, orphaned by T’Chaka’s murder of Killmonger’s father and T’Chaka’s younger brother, N’Jobu (Sterling Brown). Why did T’Chaka kill his brother? N’Jobu was found with stolen vibranium. The motive for the theft is where the tale begins—and where the story of black wonderment starts to degrade.

We learn that N’Jobu was sent to the United States as one of Wakanda’s War Dogs, a division of spies that the reclusive nation dispatches to keep tabs on a world it refuses to engage. This is precisely N’Jobu’s problem. In the United States, he learns of the racism black Americans face, including mass incarceration and police brutality. He soon understands that his people have the power to help all black people, and he plots to develop weapons using vibranium to even the odds for black Americans. This is radical stuff; the Black Panthers (the political party, that is) taken to a level of potentially revolutionary efficacy. T’Chaka, however, insists N’Jobu has betrayed the people of Wakanda. He has no intention of helping any black people anywhere; for him and most Wakandans, it is Wakanda First. N’Jobu threatens an aide to T’Chaka, who then kills N’Jobu. The murder leaves Killmonger orphaned. However, Killmonger has learned of Wakanda from his father, N’Jobu. Living in poverty in Oakland, he grows to become a deadly soldier to make good on his father’s radical aim to use Wakanda’s power to liberate black people everywhere, by force if necessary.

By now viewers have two radical imaginings in front of them: an immensely rich and flourishing advanced African nation that is sealed off from white colonialism and supremacy; and a few black Wakandans with a vision of global black solidarity who are determined to use Wakanda’s privilege to emancipate all black people.

These imaginings could be made to reconcile, but the movie’s director and writer (with Joe Cole), Ryan Coogler, makes viewers choose. Killmonger makes his way to Wakanda and challenges T’Challa’s claim to the throne through traditional rites of combat. Killmonger decisively defeats T’Challa and moves to ship weapons globally to start the revolution. In the course of Killmonger’s swift rise to power, however, Coogler muddies his motivation. Killmonger is the revolutionary willing to take what he wants by any means necessary, but he lacks any coherent political philosophy. Rather than the enlightened radical, he comes across as the black thug from Oakland hell bent on killing for killing’s sake—indeed, his body is marked with a scar for every kill he has made. The abundant evidence of his efficacy does not establish Killmonger as a hero or villain so much as a receptacle for tropes of inner-city gangsterism.

In the end, all comes down to a contest between T’Challa and Killmonger that can only be read one way: in a world marked by racism, a man of African nobility must fight his own blood relative whose goal is the global liberation of blacks. In a fight that takes a shocking turn, T’Challa lands a fatal blow to Killmonger, lodging a spear in his chest. As the movie uplifts the African noble at the expense of the black American man, every crass principle of modern black respectability politics is upheld.

In 2018, a world home to both the Movement for Black Lives and a president who identifies white supremacists as fine people, we are given a movie about black empowerment where the only redeemed blacks are African nobles. They safeguard virtue and goodness against the threat not of white Americans or Europeans, but a black American man, the most dangerous person in the world.

Even in a comic-book movie, black American men are relegated to the lowest rung of political regard. So low that the sole white leading character in the movie, the CIA operative Everett Ross (Martin Freeman), gets to be a hero who helps save Wakanda. A white man who trades in secrets and deception is given a better turn than a black man whose father was murdered by his own family and who is left by family and nation to languish in poverty. That’s racist.



Who could hope that this age of black heroes represents thoughtful commentary on U.S. racism rather than the continuation of it? Black Panther is not the first prominent attempt to diversify the cinematic white superheroics and thus not the first to disappoint. After Netflix’s Daredevil affirmed the strong television market for heroes, the media company moved to develop shows for other characters that populate the comic. Jessica Jones, about a white heroine, was a critical success. It handled its tough female protagonist intelligently. That show introduced the character of Luke Cage (Michael Colter), an indestructible black man. When Netflix announced that Cage would have his own show, the anticipation was intense: a bulletproof black man in the age of Trayvon Martin and Michael Brown? And he would wear a hoodie and fight police? Instead we got a tepid depiction Harlem poverty, partly the consequence of institutional racism but more closely tied to the greed expressed by two of its big bad black baddies, Black Mariah (Alfre Woodard) and Cottonmouth (Mahershala Ali). But that was not the worst of it. The ultimate evil in the show’s first and only season is Willis Stryker (Eric Laray Harvey), another black man whom Luke Cage must defeat. Stryker is not only a black villain, but Cage’s adopted brother. Cage must beat his brother to a pulp, just as Panther must kill his cousin.

Killmonger isn’t a hero or villain so much as a receptacle for tropes of inner-city gangsterism.

The offenses don’t end, though. If one surveys the Marvel cinematic universe, one finds that the main villains—even those far more destructive than Killmonger—die infrequently. They are formidable enemies who live to challenge the hero again and again. A particularly poignant example is Loki, brother to Thor, the God of Thunder. Across the Thor and Avengersmovies that feature him, Loki is single-handedly responsible for incalculable misery and damage; his power play leads to an alien invasion that nearly levels all of Manhattan. Yet Thor cannot seem to manage any more violence against Loki than slapping him around a bit and allowing other heroes to do the same—even as Loki tries to kill Thor. Loki even gets his turn to be a good guy in the recent Thor: Ragnarok. Loki gets multiple, unearned chances to redeem himself no matter what damage he has done. Killmonger, however, will not appear in another movie. He does not get a second chance. His black life did not matter even in a world of flying cars and miracle medicine. Why? Perhaps Killmonger’s main dream to free black people everywhere decisively earns him the fate of death. We know from previous Marvel movies that Killmonger’s desire for revenge is not the necessary condition to eliminate him; Loki’s seeming permanence is proof.

My claim that Killmonger’s black life does not matter is not hyperbole. In a macabre scene meant to be touching, Black Panther carries Killmonger to a plateau so that he might see the sun set on Wakanda before dying. With a spear stuck in his chest, he fulfills his wish to appreciate the splendor his father described, when Wakanda seemed a fairy tale. T’Challa offers Wakanda’s technology to save Killmonger’s life—it has saved the white CIA agent earlier in the film. But Killmonger recalls his slave heritage and tells Panther he’d rather die than live in bondage. He knows the score. He knows that Panther will incarcerate him (as is disproportionately common for black American men). The silence that follows seems to last an eternity. Here is the chance for the movie to undo its racist sins: T’Challa can be the good person he desires to be. He can understand that Killmonger is in part the product of American racism and T’Chaka’s cruelty. T’Challa can realize that Wakanda has been hoarding resources and come to an understanding with Killmonger that justice may require violence, if as a last resort. After all, what else do comic-book heroes do but dispense justice with their armored fists and laser rifles? Black Panther does not flinch. There is no reconciliation. Killmonger yanks the spear out of his chest and dies. The sun sets on his body as it did on Michael Brown’s.



It is fair to wonder whether the movie merely reflects the racial politics of the comic books that serve as its inspiration. Yes and no. In the movie, Killmonger’s relationship to T’Challa is as the comic-book canon portrays it. Killmonger is a deadly killer in the comics as in the movie, but he is also extremely intelligent, studying at MIT to understand the technology he goes on to deploy. In the movie, Killmonger’s only skill is killing; if Coogler intended to make Killmonger a hood-born genius, he has failed badly.

In the comics, Killmonger also dies at Black Panther’s hands. But KIllmonger dies long after he has come to live in Wakanda, albeit under a veil of deceit, before attempting a coup. The comic thus opens (but ultimately rejects) an opportunity to save Killmonger to fight for another day, just as Loki is repeatedly saved. The movie completely forecloses this possibility, which is odd since we can all be fairly certain that there will be a sequel.

Black Panther is a movie about black empowerment in which the only redeemed blacks are African nobles.

What alternative story-lines might have satisfied?

‘Black Panther’ Is Not the Movie We Deserve

 

[Dr. Narcisse]

I couldn’t help think of Ulysses Klaue, a mainline villain in the comics who lives a long, infamous life. He would have been a perfectly good villain to motivate the movie’s attempt at wokeness. In the comics, there is bad blood between the Klaue clan and Wakanda’s royal lineage (Klaue’s Nazi grandfather died by the hands of Chanda, an earlier Wakandan king and Panther). In Klaue, we had a white villain whose bloodline is imbued with the sins of racism. Ramonda, played by the ever-regal Angela Bassett, is temporally misplaced in the movie. In the comics canon, T’Challa takes the mantle of the Panther while Ramonda, T’Challa’s stepmother, is being held captive by a white magistrate in apartheid South Africa. If Coogler had at all been interested in making Panther a symbol of racial reparation he could have easily placed Klaue in South Africa, even post-apartheid, and the rescue of Ramonda—with Klaue in the way—could have driven the narrative. Ramonda is prominent in the movie, but she does not animate the movie’s central drama. Instead, Black Panther is set on a course to kill off his cousin in his first outing, suggesting yet another racist trope, the fractured black family as a microcosm of the black community’s inability to get it together.



You will have noticed I have not said much about the movie’s women. They are the film’s brightest spot: the black women of Wakandan descent are uniformly independent, strong, courageous, brilliant, inventive, resourceful, and ethically determined. I take it that a good deal of this is owed to Ta-Nehisi Coates’s success at elevating the series’ women to central characters with influence and power that turns more on their minds and integrity than their bodies. T’Challa’s sister, Shuri (Letitia Wright), is sufficiently brilliant to make the Q character from James Bond films seem a clever child with some interesting ideas, while Nakia (Lupita N’yongo) is the ethical center of the film, thoughtful and lacking any stereotypical hysterics or emotional cloudiness that so many movies use to savage the intellect of leading women. Thus the movie deserves praise for its gender politics—save in relation to the only black American woman. The character, Tilda Johnson, a.k.a. the villain Nightshade, has, by my count, less than fifteen words to say in the movie, and is unceremoniously murdered by Killmonger because Klaue is using her as a shield and Killmonger just ain’t got time for that. The lone American black woman is disposed of by black-on-black violence. She is also invisible and nearly silent. In the comic books her character is both a genius and alive and well.

Black Panther presents itself as the most radical black experience of the year. We are meant to feel emboldened by the images of T’Challa, a black man clad in a powerful combat suit tearing up the bad guys that threaten good people. But the lessons I learned were these: the bad guy is the black American who has rightly identified white supremacy as the reigning threat to black well-being; the bad guy is the one who thinks Wakanda is being selfish in its secret liberation; the bad guy is the one who will no longer stand for patience and moderation—he thinks liberation is many, many decades overdue. And the black hero snuffs him out.

When T’Challa makes his way to Oakland at the movie’s end, he gestures at all the buildings he has bought and promises to bring to the distressed youths the preferred solution of mega-rich neoliberals: educational programming. Don’t get me wrong, education is a powerful and liberatory tool, as Paulo Freire taught us, but is that the best we can do? Why not take the case to the United Nations and charge the United States with crimes against humanity, as some nations tried to do in the early moments of the Movement for Black Lives?

Black Panther is not the movie we deserve. My president already despises me. Why should I accept the idea of black American disposability from a man in a suit, whose name is synonymous with radical uplift but whose actions question the very notion that black lives matter?

‘Black Panther’ Is Not the Movie We Deserve

 

[Ziggiy]

@Rapmastermind @Ziggiy @NobodyReally @Diasporan Royalty @Birnin Zana @Primetime



‘Black Panther’ Is Not the Movie We Deserve

Again. Maybe it’s because I’m a fan of the comics, but Coogler took the Shell of the comic characters and brought them
To life in a fresh and BRILLIANT adaptation.

This writer should do the knowledge regarding the history of the comic characters before he wrote that drivel.

 

[#1 pick]

One of my students just came into my office wearing a DC shirt asking if I saw Black Panther. I said "Of course. Did you?" He said "Yeah, but DC still rules." I told him this is bigger than DC, that BP is for the culture and he said "Nah, it's always about DC." Then he told me even wore his DC shirt to the BP screening and endured getting clowned by the audience. Something's wrong with that boy. He shouldn't have told me that. I'm gonna be reading his papers differently now.

LOL, as goofy as his dumbass is. He's a growing boy into a man. He doesn't fully understand the significance of what he saw.

 

[Professor Emeritus]

Is that really a major spoiler though? I mean...anyone who’s paid attention knows Vision has the mind stone and thus would know Thanos is going to go after him

It tells you exactly when it happens (relatively to the other stones) and that it goes at least that far. There's all sorts of plausible scenarios I could have imagined where that scene doesn't happen, now I'm going to be waiting for it and seeing it coming at that exact point in the movie.

 

[Soundbwoy]

Marvel marketing this like a future Oscar contender. Got spoilers in it and everything

I still dont get people riding with killmonger

 

[Professor Emeritus]

Again. Maybe it’s because I’m a fan of the comics, but Coogler took the Shell of the comic characters and brought them
To life in a fresh and BRILLIANT adaptation.

This writer should do the knowledge regarding the history of the comic characters before he wrote that drivel.

The article pissed me off because it showed basic ignorance about the universe this whole story operates in, and sometimes outright ignorance of things that happened in this very movie.

The source of all this wonder is vibranium, a substance miraculous in ways that the movie does not bother to explain.

Vibranium was discussed in the film and in previous films and in plenty other places in the MCU.

But so far as we understand, it is a potent energy source as well as an unmatched raw material.

That statement is confusing and wrong - it's not a source of energy, it absorbs energy, and that was explicitly explained in the movie.

Killmonger is trying to make his way to Wakanda to make a bid for the throne. He believes he is the rightful king.

There isn't any sense in the movie that Killmonger goes to Wakanda because he thinks he is the "rightful king". He goes to Wakanda because he wants to use Wakanda's power in a particular way. He believes he has the right to challenge for the king, but there's no sense that he believes he is the "rightful king" or that he even thinks that way. He even refers to Wakanda as "you" not "we", shyts all over their traditions, and makes it clear that he at no point really sees himself as part of them anyway.

"I want the throne. You are all sitting up here comfortable. Must feel good. There's about two billion people around the world who look like us and their lives are a lot harder. Wakanda has the tools to liberate them all."

"I want your weapons, your secrets, it’s all mine now."

By now viewers have two radical imaginings in front of them: an immensely rich and flourishing advanced African nation that is sealed off from white colonialism and supremacy; and a few black Wakandans with a vision of global black solidarity who are determined to use Wakanda’s privilege to emancipate all black people.

These imaginings could be made to reconcile, but the movie’s director and writer (with Joe Cole), Ryan Coogler, makes viewers choose.

No, that's simply untrue, Coogler so clearly melds the two sides together that I can't imagine what movie Lebron was watching. T'Challa straight shyts on his father's isolationism and says that he made a mistake. In the end, T'Challa chooses against the "sealed off" vision for Wakanda and for "global black solidarity using Wakanda's privilege to emancipate all black people." He just doesn't see revolutionary violence as the means to accomplish that. T'Challa reconciles the two incomplete visions in the exact way that Lebron is trying to claim he does not.

Killmonger is the revolutionary willing to take what he wants by any means necessary, but he lacks any coherent political philosophy. Rather than the enlightened radical, he comes across as the black thug from Oakland hell bent on killing for killing’s sake—indeed, his body is marked with a scar for every kill he has made. The abundant evidence of his efficacy does not establish Killmonger as a hero or villain so much as a receptacle for tropes of inner-city gangsterism.

Yes, Killmonger has an incoherent political philosophy, what do you expect? He's been a lone wolf all his life, it ain't like he's part of some think tank or philosophical movement. But the claim that he is "a receptacle for tropes of inner-city gangsterism" is pure bullshyt. How far removed do you have to be from the reality of inner city gangs to think that Killmonger was EVER supposed to represent some two-bit gangster? He's clearly meant to represent a violent revolutionary, not an inner-city gangster, and other than being violent he has virtually nothing whatsoever to connect him to those tropes.

In 2018, a world home to both the Movement for Black Lives and a president who identifies white supremacists as fine people, we are given a movie about black empowerment where the only redeemed blacks are African nobles.

Does Lebron not understand that this is a movie about Africa? Even Killmonger is himself the son of a Wakandan noble. It's true that African-Americans aren't really represented in the movie, but that's because the movie is about Wakanda, and Wakandans aren't African-Americans. I hate it when people shyt on a movie for failing to be something that the movie never intended to be.

They safeguard virtue and goodness against the threat not of white Americans or Europeans, but a black American man, the most dangerous person in the world.

That's just stupid - in the MVU it is clear that a Black American man isn't "the most dangerous person in the world", and that distortion of events completely misses that Killmonger takes out Klawe (something every single viewer is intended to cheer) as well as provided the impetus to redirect Wakanda. Killmonger ain't even a villain in the movie, just like T'Chaka ain't a hero in the movie - he's more of an antagonist whose opposition to true problems with Wakanda are what direct T'Challa to the righteous path.

Even in a comic-book movie, black American men are relegated to the lowest rung of political regard. So low that the sole white leading character in the movie, the CIA operative Everett Ross (Martin Freeman), gets to be a hero who helps save Wakanda. A white man who trades in secrets and deception is given a better turn than a black man whose father was murdered by his own family and who is left by family and nation to languish in poverty. That’s racist.

That's just some bullshyt.

First off, it's straight wrong. Everett Ross isn't the "sole white leading character" in the movie, his part isn't even as big as Klaue's part, and Klaue is the epitome of evil AND gets his ass murked.

Second, Ross is the butt of a joke for basically the whole movie. He comes off as an ass when he brushes off T'Challa in order to do business with the evil Klaue, is part of a CIA that trained Killmonger to do everything the wrong way, is willing to possess stolen Wakandan vibranium, looks dumb when it's clear the CIA knows nothing whatsoever about Wakanda, lets Klaue own him in the interview, lets Klaue escape when T'Challa could have had him on the ship to Wakanda already, and throughout the movie gets people telling his ass to shut up basically every time he opens his mouth. Shuri even calls him a "broken white boy" and "colonizer". Yes, he gets his redeeming moment, but for most of the movie he ain't shyt.

Killmonger is a FAR more compelling and important character, and is FAR more necessary to determining the direction of Wakanda.

fukk, is anyone going around saying, "Ross was my hero from the movie, I really identified with Agent Ross."

Who could hope that this age of black heroes represents thoughtful commentary on U.S. racism rather than the continuation of it?

The movie DID offer commentary on U.S. imperialism. But if you want a movie that focuses on American racism, probably should wait for one that is set in, you know, America.

The offenses don’t end, though. If one surveys the Marvel cinematic universe, one finds that the main villains—even those far more destructive than Killmonger—die infrequently. They are formidable enemies who live to challenge the hero again and again.

No, more bullshyt. I mean fukk it, Klawe himself died in this very movie. Ultron and Wolfgang von Strucker both died in Age of Ultron. Ronan died in Guardians of the Galaxy. Ego died in Guardians of the Galaxy 2. Red Skull died in Captain America. Pierce died in Winter Soldier. Stane died in Iron Man. Vanko died in Iron Man 2. Killian died in Iron Man 3. Laufey died in Thor. Malekith died in Thor: The Dark World. Cross died in Ant-Man.

The main villain often dies in Marvel movies. Making it like Killmonger's death was some unique event is flat incorrect. Yes, Loki is still alive, but that is the exception, not the rule.

Killmonger, however, will not appear in another movie. He does not get a second chance. His black life did not matter even in a world of flying cars and miracle medicine. Why? Perhaps Killmonger’s main dream to free black people everywhere decisively earns him the fate of death.

More ridiculous bullshyt. Killmonger's life does matter, tremendously, he changes the entire fate of Wakanda and his dream is going to be carried on by T'Challa, just by a different means.

My claim that Killmonger’s black life does not matter is not hyperbole.

How can you watch Black Panther and come to the conclusion that Killmonger doesn't matter???

In a macabre scene meant to be touching, Black Panther carries Killmonger to a plateau so that he might see the sun set on Wakanda before dying. With a spear stuck in his chest, he fulfills his wish to appreciate the splendor his father described, when Wakanda seemed a fairy tale. T’Challa offers Wakanda’s technology to save Killmonger’s life—it has saved the white CIA agent earlier in the film. But Killmonger recalls his slave heritage and tells Panther he’d rather die than live in bondage. He knows the score. He knows that Panther will incarcerate him (as is disproportionately common for black American men). The silence that follows seems to last an eternity. Here is the chance for the movie to undo its racist sins: T’Challa can be the good person he desires to be. He can understand that Killmonger is in part the product of American racism and T’Chaka’s cruelty. T’Challa can realize that Wakanda has been hoarding resources and come to an understanding with Killmonger that justice may require violence, if as a last resort. After all, what else do comic-book heroes do but dispense justice with their armored fists and laser rifles? Black Panther does not flinch. There is no reconciliation. Killmonger yanks the spear out of his chest and dies. The sun sets on his body as it did on Michael Brown’s.

I have no words.

Killmonger is a deadly killer in the comics as in the movie, but he is also extremely intelligent, studying at MIT to understand the technology he goes on to deploy. In the movie, Killmonger’s only skill is killing;

Obviously false, the movie shows Killmonger to be knowledgeable, competent, and indeed an MIT-educated genius. Other than a false hope in violence and a poor political philosophy, you could say that he is the most consistently competent character in the entire film. (With the possible exception of Okoye.)

What alternative story-lines might have satisfied?

I couldn’t help think of Ulysses Klaue, a mainline villain in the comics who lives a long, infamous life.

In the same article where he complains about White villains not dying, he then complains that the White villain DID die instead of living a long life like in the comic books?

But the lessons I learned were these: the bad guy is the black American who has rightly identified white supremacy as the reigning threat to black well-being; the bad guy is the one who thinks Wakanda is being selfish in its secret liberation; the bad guy is the one who will no longer stand for patience and moderation—he thinks liberation is many, many decades overdue. And the black hero snuffs him out.

If you watch this movie and come out only thinking of Killmonger as "the bad guy", you've missed the whole point.

Why not take the case to the United Nations and charge the United States with crimes against humanity, as some nations tried to do in the early moments of the Movement for Black Lives?

Wait, who the hell is Wakanda going to have judge the U.S. in that trial? England? Russia? France?

And why would Wakanda taking a case against the USA before the UN even have a chance of success? They'd get shot down just like everyone else does.

This guy is still focused on America in a movie that is not about America. There were destructive imperialists all over the place, the majority of the fukking U.N. has blood on its hands. Wakanda is different from them, it's gonna do things its own way.

Black Panther is not the movie we deserve. My president already despises me. Why should I accept the idea of black American disposability from a man in a suit, whose name is synonymous with radical uplift but whose actions question the very notion that black lives matter?

Yeah, T'Challa is just like Trump.

 

[Dr. Narcisse]

@Achille

 

[MikelArteta]

@Achille

comic book movies dont get any love

 

[MikelArteta]

I still dont get people riding with killmonger

 

[MikelArteta]

thread too long for me to try to search thru. but i wonder why they didnt put the south african song T'Challa's sister was playing in the lab on the sdtrk.



if this was discussed already, my bad

prob wanted to much money

 

[krackdagawd]

I still dont get people riding with killmonger

 

[Primetime]

@Rapmastermind @Ziggiy @NobodyReally @Diasporan Royalty @Birnin Zana @Primetime @mastermind



‘Black Panther’ Is Not the Movie We Deserve

I mean, I'm Nigerian. More so, I was born in Nigeria but moved to the states when i was little, so i actually have mixed positive emotions about the protagonist and antagonist. You actually posted a video the other day of a Nigerian-American's review and she had very similar sentiments as I.

i.e. when you grow up mostly in the states, and you come across another Nigerian or Afrikan who is more "fresh off the boat" as they'd say, one of the most infuriating things is if you greet your fellow countryman and their first/inevitable reply is "you're not really Nigerian " Like it doesn't matter that you're actual household was of that culture or that we all ended up in the States for the same reasons. That type of interaction isn't always the case but it happened far too often and i used to buck back at that shyt.

So recall that scene where Erik's dad is talking to him and says (paraphrasing) 'i gave you a key so you might make it to Wakanda one day... but even if you make it there, I fear they will not accept you."

"But why"

"They'll say that you are lost."

"But i'm right here?"

That shyt choked me up a bit, i wouldn't lie.

So speaking on it from a straight up african-american or straight up Afrikan perspective? Idk, because i'm pretty much the inbetween [ironically like Erik, minus the tragedy]; i.e. i've been angry at white ppl for slavery/colonization, angry at black ppl saying i wasn't black enough as a kid bc of my background, and then later angry at afrikan ppl saying I wasn't afrikan enough despite being raised in an afrikan household.

So from that specific perspective, i appreciated that the movie touched on that subdivision of us and i related with Erik more so for that feeling of isolation than I did any of his actual goals, tho his case again was much more extreme. I related with T'Challa because his afrikan family structure/dynamic was a lot like mine when it came down to it (again, minus the tragedy).