ScreenFish

where faith and film are intertwined

Chadwick Boseman

SF Radio 9.07: Grieving Heroes in BLACK PANTHER: WAKANDA FOREVER

by Leave a Comment

After the real-life death of Chadwick Boseman, fans of the franchise were left shaken. More than that, however, it left the direction for the mega-hit MCU franchise in jeopardy as well. However, in BLACK PANTHER: WAKANDA FOREVER manages to do the impossible, creating an engaging story while still meeting fan expectations. This week, SF’ers Seun Olowo-Ake and Chris Utley return to talk about why Boseman’s death differs from other heroes and grappling with grief.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

9.07-Black-Panther-Wakanda-Forever

Black Panther: Wakanda Forever – Grief is Not the End

by Leave a Comment

It was never going to be an easy task.

After death after the tragic death of Chadwick Boseman, the return to the Black Panther franchise became frought with controversy and challenges. Whether it was the rallying cry to recast T’Challa, or simply attempting to create a project that honours the legacy of one of Marvel‘s greatest heroes, the sequel to Black Panther felt like a doomed project from the start. Although the cast was committed to creating something of the highest possible quality, this is almost an impossible expectation to meet under the circumstance. However, against all odds, Black Panther: Wakanda Forever is an undeniably touching tribute to the life of Boseman, while still managing to deliver the Marvel goods in an epic way. 

Directed by Ryan Coogler, Black Panther: Wakanda Forever follows the nation of Wakanda as they are left in collective grief over the tragic death of King T’Challa. As reinstated leader, Queen Ramonda (Angela Bassett) informs the world council that, despite the loss of T’Challa, they are very much a nation of power and pride who are willing to embrace the next chapter of leadership. However, when the mysterious aquatic nation of Talokan—led by the powerful Namor (Tenoch Huerta Mejia)—asserts their claim to Wakanda’s resources, Shuri (Letitia Write), Okoye (Danai Gurira) and the Dora Milaje must fight to preserve their home.

Almost strangely, Wakanda Forever feels more internally-focused than other recent entries into the uber-franchise. For example, Coogler has created a film that features all the epic battle sequences that one would expect from traditional Marvel fare. (The battle within Wakanda itself is particularly impressive.) However, at the same time, Wakanda Forever is a film that feels quite content to grapple with its own issues, with no Thanos or Kang-like threat lying in the wings. Marvel is always at its best when character is emphasized over spectacle and Wakanda Forever is surprisingly willing to sit in the quieter moments. As a result, this easily becomes one of the best films in the current phase of storytelling as it allows the characters space to grieve.

A scene from Marvel Studios’ Black Panther: Wakanda Forever. Photo courtesy of Marvel Studios. © 2022 MARVEL.

In a lot of ways, Wakanda Forever is a surprisingly appropriate film to end Marvel’s Phase 4. From Black Widow to WandaVision to even Thor: Love and Thunder, Marvel‘s theme for much of their content during this current phase of the Marvel Universe has dealt with how to recover from grief and trauma. This theme absolutely extends into Wakanda Forever as Boseman‘s death weighs heavily upon the film. Unlike other Marvel deaths, Boseman’s actual passing has left a mark upon both the fictional world and the real-world fanbase, causing difficult decisions for those behind the scenes. Do you recast the character? Change the identity of the Panther? All of these options have been hotly debated in recent years but, thankfully, the film treats his passing with honour and respect. In this vision of Wakanda, the nation mourns the death of their king and desperately searches for a way forward. As such, like other Marvel content in recent years, Wakanda Forever becomes a tribute to the power of legacy, and what it means to heal after a tragic loss. 

(Center): Danai Gurira as Okoye in Marvel Studios’ Black Panther: Wakanda Forever. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Although Boseman’s passing weighs heavily on this latest chapter of the story of Wakanda, it is the women who step forward with strength and fury. From Letitia Wright and Lupita Nyong’o to Dani Gurira and the Dora Milaje, the women of Wakanda are determined to protect their home and lead into the future. This is especially true in Wright’s performance as she brings a maturity to her character that was missing in the first film. While the first adventure portrayed her as the ‘kid sister of the king’, Wakanda Forever allows her to grow into a more complex character. (“Someone who has seen as much tragedy as you can no longer be called a child,” M’Baku informs her.) 

However, standing tallest amongst these Wakandan warriors is Bassett. As T’Challa’s grieving mother and the reinstated Queen of Wakanda, she is positively fierce. Broken by grief yet fueled by determination, there’s a passion and fury within Bassett’s work here that feels authentic. Although Wright may be the film’s focus, Bassett remains its heart and soul.

Angela Bassett as Ramonda in Marvel Studios’ Black Panther: Wakanda Forever. Photo courtesy of Marvel Studios. © 2022 MARVEL.

And soul is an appropriate term for Wakanda Forever.

Left with an anger created by their suffering and hurt, this is a country (and a franchise) that is looking to rediscover its soul. Determined to soldier on, Wakanda struggles to know what the future looks like, leaving them with a sense of uncertainty. Here, each character lies determined to carry on the legacy of their fallen king, yet remain unsure about how to do so. This is particularly exemplified in the journey of Shuri, who remains broken by the loss of her departed brother. Wrought with anger, there is a recklessness of her character in this film that tempts her to lean into her darker impulses. Without giving any spoilers, Shuri’s emotional journey is the focal point of much of the film as she grapples with the tension between holding on and letting go. 

Tenoch Huerta Mejía as Namor in Marvel Studios’ Black Panther: Wakanda Forever. Photo courtesy of Marvel Studios. © 2022 MARVEL.

This is not to say that Marvel isn’t up to its old tricks in terms of thinking towards the future of the franchise. New characters such as Riri Williams, Namor the Submariner and the inclusion of Talokan are introduced as more foes/allies for Wakanda—and, potentially, the Avengers—in future entries. (What’s more, one can’t help but feel bad for James Cameron as he primes himself to reintroduce another group of blue-skinned, water-based warriors in only a few weeks’ time.) However, what’s most important is that these new characters are not the aspect of Black Panther: Wakanda Forever that resonate after the (post)credits roll. Instead, Coogler has managed to create a proper farewell for one of Marvel’s most beloved heroes while still offering hope for the future.

And, in times of grief, that is always what’s needed most.

Black Panther: Wakanda Forever is available in theatres on Friday, November 11th, 2022.

What If…?: Hitting the Reset Button

by Leave a Comment

I try to stay away from spoilers, but just in case, SPOILERS ARE POSSIBLE for the first three episodes.

I have to admit it, but sometimes the MCU exhausts me. Now don’t get me wrong. I love it, especially over the past few years as I’ve gotten more involved in the screening and reviewing and podcasting side of things. 

But the analysis? As the young kids say, “sheeeeeesh.” Trying to keep up with all the hidden meanings, easter eggs, comic references, and above all, trying to predict everything that is and was and ever will happen is absolutely a full time job. And sometimes, I really just want to watch something new that I don’t have to try and analyze.

Enter What If…?, the newest Marvel series airing on Disney+. I went into the first three episodes feeling absolutely free because I figured “hey, who knows where this will go.” And personally, I was totally right. It did everything I hoped it would. It connected me with the characters I loved, it stayed true to the heart of the storylines while simultaneously flipping the script on old expectations. The animation kept it youthful and energetic and before I knew it, and it’s absolutely a great tie in to all the impact that Loki has made on all the timelines everywhere in the multiverse.

Episode one takes us back to the original Avenger – Captain America – and marks the moment of Peggy Carter’s (Hayley Atwell) choice to stay in the room. From there, the entire trajectory of both her and Steve Rogers’s stories changes. Forced to make a split-second decision to save the Super Soldier mission, Carter takes Steve’s place and receives the serum. Fighting the same battle but with a new role, Agent Carter faces an even greater uphill battle as she rebrands herself “Captain Carter.” Not only facing the typical gender stereotype of being a woman in a ‘man’s role’, she also finds herself facing a monster we have yet to truly see – and the result will reverberate across other timelines.

Episode two takes two of my favorite stories: Guardians of the Galaxy and Black Panther and gives us a galaxy in which the enigmatic T’Challa is able to persuade even the most deadly of villains (ahem, Thanos) to work towards a more peaceful universe. Oh how wonderful it was to see Chadwick Boseman’s iconic work as Black Panther on screen once more. He 100% embodies T’Challa, and there will never be another one like him. That compelling portrayal gives life throughout this episode as T’Challa wrestles with what it means to serve both his people and the universe. 

Episode three really pulls no punches when showing us what could happen if the Avengers were never the Avengers. Instead of joining together, they are targeted one by one, and Fury (Samuel L. Jackson) is left facing a vengeful Loki (Tom Hiddleston really is in his element these days) threatening to destroy the world. But he’s not out for domination… at least, not initially. Instead, they must work together to catch a far more elusive foe, but as we all know about Loki, he’s always got something up his sleeve. 

See? No analysis. No guessing games. No frantic fan theories. At least not from me. What If…? is the kind of series that is free to reset expectations and do something out of the box. In a word, it’s fun. Pure, good, fun. And I’m here for it. 

Catch it now on Disney+, and enjoy! We can all analyze later 🙂

Academy Awards 2021: Boseman Loss Shows Why We Still Do (and Don’t) Need the Oscars

by Leave a Comment

It wasn’t supposed to go like that.

After unexpectedly re-arranging the schedule to push Best Picture up and let the acting categories shine, the Academy clearly wanted to send a message. With the foregone conclusion that Chadwick Boseman would posthumously take Best Actor for his work in Ma Rainey’s Black Bottom, it was going to definitively celebrate a young man who was taken from us far too soon after losing his battle with cancer last year. 

An African-American man. 

Black Panther.

The significance of the moment was going to be a victory to end that night that would be both emotional and satisfying. After all, at a moment when Black culture is looking for heroes, a Chadwick victory would have been a symbolic statement in honour of a young man who had become a beacon of hope for many, sending viewers home with a truly feel-good moment.

Well, we all know how that went.

After Phoenix announced Anthony Hopkins as Best Actor to close out the show, the shock was palpable. The room was fairly quiet. Phoenix had to fumble through an awkward acceptance on Hopkins behalf as he was the only nominee not available. Of course, Twitter erupted. (In some ways, you almost feel bad for Hopkins. At home in Wales, even HE didn’t think he was going to win. If I were him, I likely would have slept through the ceremony as well.)

In a moment that felt like the reverse of the La La Land/Moonlight fiasco of a few years ago, the ‘feel-good’ finale completely backfired.

Within seconds, people took to their social media and responded accordingly. Outrage! Fury! Cancel! The response was completely understandable—and expected. After all, around this time, it’s almost tradition for people to take to the inter-webs to complain about the Oscars and the choices that they proclaim are ‘Best’. People decry from the rooftops that the films the Academy selects show their irrelevancy (and, sometimes, that’s a totally fair complaint). Comments like ‘this is why I don’t care about the Oscars’ flood social media with tsunami-like force.

But the irony is that same blow-up on the Twitter-verse shows that people still do care.

While people may either be happy or furious, the fact that the reactions to these awards are so strong suggests that there’s still an interest in the results. For over 90 years, the Academy Awards have been the ‘standard’ by which success in the industry has been measured. To win an Oscar is considered one of the highest honours in the industry and, even though culture has changed a lot in recent years (and continues to do so), there remains a respect for that golden statue that continues to endure. To win an Oscar still says something. 

They matter because they matter to us.

The reason people were upset about Chadwick losing the award is not because Hopkins didn’t deserve it but rather that it meant something to them. Hopkins turned in the performance of the lifetime in the role but a Chadwick victory would have felt not only poignant but powerful. With his career still reaching his potential before his death, Chadwick still felt like someone that people could relate to, especially amongst the Black community. A win for him seemed like it would have felt like another win for them.

And it might have.

But, if the awards truly didn’t matter to anyone outside the industry, no one would have cared. There would have been no outcry or frustration. It would have simply passed on from the cultural zeitgeist and landed on the entertainment pages… not the front page… 

The problem may be that we’ve given too much credibility to the Academy. Though filled with over 1000 industry professionals, with this responsibility comes the expectation that it will represent the values of the people and the time. The truth is that they don’t always. Yes, they strive for representation and want to speak the voice of a culture. That’s why these films matter as much as Marvel films or alien invasions. They connect with a heartbeat that speaks the cries of our world.

But they don’t always speak for you and I. How could they?

With this in mind, the loss by Chadwick shows that, maybe, we don’t need the Oscars to play the same role in our culture. The truth is that, while considered the highest heights of the industry, the loss to Hopkins does not take away from his performance (or career) in any way. So many of history’s best films and performances were never recognized by the Academy. Citizen Kane, Raging Bull, Do The Right Thing, Pulp Fiction and innumerable others were robbed of ‘Oscar glory’ yet remain the most influential films of the last century. (And let’s not forget Delroy Lindo from the list of snubs this year…)

Regardless of who the Academy chooses to take home the gold, Chadwick Boseman will be remembered.

He matters. And he’s as important as he was yesterday.

I admit it. I love the Oscars. I love the pageantry, the music and the speeches. Unlike many, I love the fact that winners use the platform to speak their hearts about issues that matter to them. (I mean, they’ve been given a voice. They should use it.) I even love my Oscar pool with friends.

Ultimately though, they don’t determine which films or performances matter most. Only the ones that mattered to these people. That’s why it doesn’t really matter in the end if Boseman posthumously took home the gold. His performance in Ma Rainey’s was a thing of brilliance and it will be remembered. (In fact, it should be remembered.) This year’s Oscars may have been the most diverse in the Academy’s history. Chloe Zhao. Daniel Kaluuya. Yuh-Jung Yoon. H.E.R. Soul. Jon Batiste. All of these winners from last night show that things are changing. This was not #OscarsSoWhite, even if it did feel like #OscarsSoWrong.

The loss by Boseman doesn’t change any of this… but it’s all anyone’s talking about.

Yes, it would have made an amazing story to see him cap off his young but incredible career with a win. It would have been an emotional moment for us all. But there’s a reason that they announce the winner by saying ‘the Oscar goes to…’ They don’t want the other nominees to feel as though they are someone lesser than the others.

Because they aren’t. Not Riz Ahmed. Not Boseman. None of them, regardless of category. They all achieved something great with their cinematic achievements. And, like Chadwick’s performance, their work lives on. 

The Academy knows that. We may have forgotten it.

Message received.

Ma Rainey’s Black Bottom: The Power of Money and Music

by Leave a Comment

Ma Rainey’s Black Bottom (2020): Viola Davis as Ma Rainey. Cr. David Lee / Netflix

Like creating great music, it’s important that every member of a film’s cast is on the same page.

Thankfully, in the case of Ma Rainey’s Black Bottom, the cast are not only in sync with one another. They’re in perfect harmony.

Set in 1920s Chicago, Ma Rainey’s Black Bottom takes place over the course of an afternoon as legendary ‘Mother of the Blues’ Ma Rainey (Viola Davis) and her band gather to record one of her latest hits. As temperatures rise, so too do tensions as Ma attempts to wrestle control of her music away from her white manager and producer. Within the band itself, conversations revolve around the ambitious and impetuous Levee (Chadwick Boseman), a trumpeter with dreams recording his unique style of music with the hopes of claiming fame for himself. However, as Levee’s visions of success cause disruptions amongst his bandmates, he also finds himself reliving some of the traumas that have so far defined his young life.

MA RAINEY’S BLACK BOTTOM (2020) Chadwick Boseman as Levee. Cr. David Lee/NETFLIX

Based on the play of the same name, Ma Rainey’s Black Bottom is a brilliantly and passionate performed film that begins with a song but ends with a power struggle. Directed by Tony award-winning playwright George C. Wolfe (Angels in America: Millenium Approaching), the film’s limited sets and dialogue-heavy scenes help it maintain the intimacy and energy of a Broadway play. Though not all dramatic adaptations adapt well onscreen, Wolfe brings the film to life by rightly letting its characters and their interactions remain the focus of the story. 

Though the entire cast does a remarkable job within the film, Ma Rainey’s quickly becomes an acting masterclass from two truly talented artists in Davis and Boseman. In one of her finest performances in recent years, Davis thunders around the room as the no-nonsense Rainey, taking no prisoners yet also demonstrating a subtle nervousness underneath her hardened exterior. 

Not to be outdone, Boseman’s work here is simply stunning as the confident and cocky Levee. Whether he’s showing off his new shoes or railing against his bandmates on issues of race or faith, Boseman emotionally invests himself into every moment of his performance with enthusiasm and vigor. As his final performance, his work here is truly an incredible send-off that showcases the immense talent that was lost with his passing.

Ma Rainey’s Black Bottom (2020): Viola Davis as Ma Rainey. Cr. David Lee / Netflix

Though the film is set in 1927, Ma Rainey’s couldn’t feel more relevant. At a time when racial injustice is a daily topic of conversation, this visceral tale about the imbalances of power feels both honest and necessary. In this film, money and race are in constant competition with one another for the seat of dominance. For instance, as their ‘most important artist’, Rainey runs the show, keeping her agent hopping with various needs in order to ensure that she and her band are happy. However, when she’s not around, the studio’s white producer maintains control, haggling over wages and dictating how the band will play their music. This tension is illustrated beautifully through the film’s sets as characters jockey for physical positions of power on staircases and various levels. (Incidentally, it’s also worth noting that the band members are only brought upstairs from the basement when Rainey arrives.)

However, there’s much more at stake here than ice cold coke bottles or dollar signs. This back-and-forth racial conflict points to a battle for the soul of a culture, primarily through its music. As Rainey insists on performing her way, her producer pleads with her to increase the tempo in order to reach a wider (read: whiter) audience. Building like a crescendo, small arguments about musical style and texture build furiously towards larger discussions about ownership that reveal the true issues of power at stake. (In fact, even Rainey knows that her hold over her white producers is tenuous, claiming that they’re only willing to help her because of the financial potential of her voice as opposed to genuine care.)

MA RAINEY’S BLACK BOTTOM (2020) Chadwick Boseman as Levee. Cr. David Lee/NETFLIX

Caught in the middle of this wrestling match is the young and ambitious Levee, who insists that he can create his own music while still appeasing white culture in the process. Believing that he can manipulate the system in his favor, Levee repeatedly attempts to show the value of his work yet is unable to find support from either the white producers who promised him fame or his own African-American bandmates. Unfortunately, with each roadblock that he encounters, the energetic Levee has greater difficulty battling the seething rage that bubbles underneath his smiling and optimistic exterior until he can no longer contain himself. Like the music that he longs to play, Levee’s journey points to a generation of African American youth that want desperately to have a seat at the table but ultimately find themselves at the mercy of a predominantly white culture that fails to appreciate the importance of their story.

Anchored by incredible work from Davis and Boseman, Ma Rainey’s Black Bottom demands attention. By allowing the performances to take centre stage, Wolfe wisely steps back and gives his cast the freedom they need to make stunning music together onscreen. Playing off of each other like fine jazz, Boseman, Davis and the rest of this cast are note-perfect together in a story that reminds us that the power of music lies in its voice.

Ma Rainey’s Black Bottom is available on Netflix+ on December 18th, 2020.

21 Bridges – Hunting Cop Killers

by Leave a Comment

“There are 21 bridges in and out of Manhattan. Shut’em down. Three rivers. Close them. Four tunnels. Block them. Stop every train line that leaves the island – Amtrak, PATH, New Jersey Transit, LIRR—and loop the subways. Then we flood the island with blue.”

That is certainly a dramatic undertaking! Just think of closing down all of Manhattan! That is the hook for 21 Bridges, a police thriller from director Brian Kirk and producers Joe and Anthony Russo.

Taylor Kitsch and Stephan James star in 21 BRIDGES

When a pair of criminals (Taylor Kitsch and Stephan James) steal cocaine from a restaurant used by a drug dealer, they are surprised by some police. In the shootout several police are killed. Detective Andre Davis (Chadwick Boseman) is brought in to investigate, and teamed up with narcotics detective Frankie Burns (Sienna Miller), a single mom struggling with the pressures of life. When it becomes obvious the killers are in Manhattan, and since it’s 2:00 a.m., the decision is made to shut down the island to find the killers. In a race against the clock the killers try to find their way out while Davis and the police zero in on them.

Davis is the real focus of the film. It opens with the words from Romans 13:4 being read at a funeral, and focusing on a child with tears in his eyes. It turns out that this is his father’s funeral, after his father, also a police officer, was killed in the line of duty. That verse, which of worldly authorities executing justice on God’s behalf, color how we see Andre throughout the film.

Chadwick Boseman stars in 21 Bridges

When we next see Davis, he is meeting with a police board. It turns out he has been involved in eight shootings in nine years—all justifiable. It is no wonder he is chosen to find these killers. No one wants them taken alive—except maybe Davis. The angry precinct captain (J.K. Simmons) is perfectly clear that he sees no point in prolonging the execution of justice. But Davis, we discover is not about killing bad guys—he’s about finding the truth. And the truth turns out to be far more complicated that just shutting down Manhattan. And when the truth is uncovered, Davis is determined to continue to be the manifestation of justice.

The film is very much a story of good vs. evil. However, the clear boundary between the two in the first half of the film becomes more complex in the second half. That makes the biblical quote that opens the film a bit sticky to consider. It is one thing to think of police as working with God’s authority to execute justice (I have some quibbles with this interpretation in the film, but I’ll let that pass), but what about when what we see the police acting in why that is clearly not in line with God’s justice? That becomes the central question of the latter part of the film.

J.K. Simmons, Chadwick Boseman and Sienna Miller star in 21 BRIDGES Image Courtesy of STXfilms

Oh, and the shutting all the bridges, etc.? I think it would make a really interesting film to focus on the logistics of that actually happening. Here it is really a minor plot point that very little actual attention is paid to. I wouldn’t be surprised that a plan to do that exists, but in this film it is far too spur of the moment to really be given credence.

Photos courtesy of STX Financing

GIVEAWAY: Black Panther 4K/Blu-Ray Combo!

by 13 Comments

Before the Infinity War was the battle for Wakanda!

After the death of his father, T’Challa returns home to the African nation of Wakanda to take his rightful place as king. When a powerful enemy suddenly reappears, T’Challa’s mettle as king — and as Black Panther — gets tested when he’s drawn into a conflict that puts the fate of Wakanda and the entire world at risk. Faced with treachery and danger, the young king must rally his allies and release the full power of Black Panther to defeat his foes and secure the safety of his people.

                       

The winner will receive a copy of the Black Panther 4K Ultra HD/Blu-ray Combo.

To enter, simply like or share our post on Facebook and answer the following question in the comment section: What was the name of T’Challa’s father, who was killed during the events of Captain America: Civil War?

For a bonus entry, like or share the post on Twitter and Instagram.

All entries must be completed by 11:59pm on Friday, May 18th, 2018.

 

Black Panther will be unleashed on Blu-Ray on Tuesday, May 15th, 2018

4.12 The Power of the BLACK PANTHER

by 8 Comments

 

As Marvel unleashed BLACK PANTHER, even they could not have foreseen the incredible impact that the film has had on both the box office and the culture at large! With its lush visuals and healthy portrayal of African-Americans, PANTHER has sparked positive conversations about race and depictions of culture on the big screen. This week, Steve welcomes back Chris Utley and Arnaldo Reyes to talk about the film’s impact and the power telling one’s own story.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

4.12 Black Panther

Thanks Chris and Arnaldo for joining us!

For those of you in Canada who are interested, you can donate to ScreenFish by clicking the link below and simply selecting ‘ScreenFish’ from the ‘Apply Your Donation…’ area. 

https://www.canadahelps.org/en/charities/connect-city/

Black Panther: I STAY WOKE!

by 6 Comments

SPOILERS FROM THE FILM WILL BE DISCUSSED AND DISSECTED.  DO NOT READ UNLESS YOU HAVE SEEN THE FILM

My former Grambling State University Theatre Department classmate turned prolific R&B artist Erykah Badu has a song on one of her albums called “Master Teacher.”  The hook goes, “What if there were no N*****s, only Master Teachers?  I STAY WOKE.”   If you substitute the phrase Master Teachers for the word WAKANDANS, then you’ll get the vibe of where I’m going in light of this cinematic event that has been given to us this Presidents Day Weekend 2018.

I will leave the MCU fanboying to the experts here at THE FISH to ponder BLACK PANTHER’s place in the pantheon of Marvel films, analyze its connection towards the road leading to Avengers: Infinity War, etc.  I’ve got bigger fish to fry.  As does this movie.

Instead, I will build off of my thesis statement from my classmate – paraphrased and reappropriated for this movie.  Of course I know that Wakanda is not an actual place.  It’s birthed from the imagination of Stan Lee and Jack Kirby.  But, in my own mind, I see Wakanda as what might have been for my ancestors and I.  What would my motherland of Africa and my kinsmen be if the natural minerals and resources had not been fleeced and its people oppressed by apartheid and their ancestral offspring not led away in slaveships to the Carribean, South and North America to endure 400 years of violent, dignity robbing, identity snatching hardship by real life “colonizers?”  I look at those 5 tribes which form the fictional Wakanda and I see the true essence and spirit of who God has graced the African man and woman to be – regardless of whether the designation American appears afterwards.

I see honor and dignity. I see fierce devotion to ideals.  I see great technological and scientific advances.

I see PRIDE.

I desperately wanted my 12-year-old son and 8-year-old daughter to see and feel the same thing as I did when I watched the movie.  Their response was definitely more muted than mine.  I get it.  Because in our home – with God’s help – we have continually taught them to see honor and dignity in themselves; to have a fierce devotion to the biggest ideal of all: JESUS CHRIST IS LORD; and that technology, science, and all areas of greatness are available to them via education.

As I thank God for my kids, I also have to think about the other kids out there; the real life Erik Killmongers of the world.  The ones whose hearts have grown numb to the images of Strange Fruits in trees hung, maimed and slaughtered by more evil “colonizers.”  The ones who have attempted to take the derogatory ‘N-word’ label and soften it up by slicing 2 letters and adding an A on the end.  The ones who wish to continue the work of the real life Black Panthers.  I don’t think director Ryan Coogler set this film in Oakland by accident…especially when you consider that:

  1. The Panthers were born in Oakland
  2. Erik Killmonger’s plan of action – inherited to him by his father Wakandan Prince N’Jobu – is straight out of their playbook.

Call the real life Black Panthers a hate group if you want.  You’re missing the point.  These were a group of men and women who got tired of seeing the unjust oppression of their kinsmen by the ruling class and were ready to defend them even if it meant overthrowing the current systems of power.  Disagree with them and Killmonger all you wish. But before you judge, look at their point of view in the light of those dead Black men and women of the past…and present.

Killmonger, rightful heir to the Wakandan throne, wants to take the resources from his homeland and equip warlords across the world to free his kinsmen.  But T’Challa – our hero – knows there is a better way.  A way, as spoken in Post Credits Sequence #1, that does not involve creating division and using his homeland’s resource to foster oppression. T’Challa wants to use his kingdom to be a LIGHT to the world.  There was a time when Wakanda hid itself in fear of what MIGHT happen should their greatness got into the wrong hands.  But T’Challa recognizes that it’s time to come out of the darkness and into the light.

But that light only shines when we, as humanity, come TOGETHER.

That’s the one area in the real world where all of mankind needs to stay woke.  It’s not about White Supremacy or Black Pride reigning on the throne of society.  There is only one Throne and only one Kingdom in which every knee will bow to. And that King will be glorified when He sees all of His creation – all races, creeds and colors – united together to shine His light on our broken world.

Black Panther gets 2 fists up from me! ✊🏿✊🏿 May its record breaking success cause studio execs to GET WOKE about the abilities of Black filmmakers handling big budget blockbuster material.  I’ll say it loud!  BLACK PANTHER MADE ME PROUD!

 

 

 

Black Panther Giveaway!

by 7 Comments

As the world prepares for the unleashing of Marvel Studios’ Black Panther, ScreenFish wants to help you to get ready!

After the death of his father, T’Challa returns home to the African nation of Wakanda to take his rightful place as king. When a powerful enemy suddenly reappears, T’Challa’s mettle as king — and as Black Panther — gets tested when he’s drawn into a conflict that puts the fate of Wakanda and the entire world at risk. Faced with treachery and danger, the young king must rally his allies and release the full power of Black Panther to defeat his foes and secure the safety of his people.

                       

The winner will receive a copy of the Black Panther soundtrack, a T’Challa pop figure, and a Black Panther poster.

To enter, simply like or share our post on Facebook and answer the following question in the comment section: Name another film in which director Ryan Coogler has worked with actor Michael B. Jordan.

For a bonus entry, like or share the post on Twitter.

All entries must be completed by 11:59pm on Thursday, February 15th, 2018.

 

Black Panther will be unleashed in theatres on February 16th, 2018