‘Black Panther’ Gloriously Delivers Wakanda

Black Panther film poster.

Black Panther was indescribably above expectations and is the best Marvel film by far.

Although not the originally slated four hours that anxious fans desperately hoped for, the shorter run time still had plenty of juicy appeal to satisfy the appetite for all things African. This film is definitely not the average Marvel verse. At last, we see ourselves, our ancestral pride stitched in every detail. From the far and wide casting choices of black American, Kenyan, Zimbabwean, Ugandan, Rwandan actors/actresses to the elaborate costumes that pay homage to roots, to the jewelry to the sights of drums and dance and ritual to face painting, hair styles, makeup, fashion, language (both phonemic and hand communication) and scenery. Every ingredient unifies the world of Wakanda, taking audiences to a place they’ve always wanted to go, but rarely realized it could finally happen.

Nakia (Lupita Nyong'o), T'Challa (Chadwick Boseman), and Okoye (Danai Gurira) are now home.

Black Panther starts off with an unexpected betrayal in the past, an act that will unravel and change the course of Wakandan allegiances in the future. Thus, in the present-day, after catastrophic events from Captain America: Civil War, T’Challa embarks home, retrieving Nakia, a bold, brazen woman spy who often leaves him rightfully "frozen," along the way. Upon his most welcomed return, the traditional ceremony of his crowning as King of Wakanda is a joyous occasion with music, dance, and battle.

Like an eloquent black Eve bearing an apple of fruitful knowledge, Nakia, refusing to be wife, offers T'Challa the first taste of forbidden resistance. She wants to share Wakanda to those in need, to generously spread the great wealth of resources all over the world, especially to black people. This is where they differ. T'Challa wants to stick with Wakandan tradition, to remain apart, and continue on with sacred, privileged black utopia. They are on opposing sides, but the love they have for Wakanda and for one another is a delightful. refreshing energy. Their banter, their looks into each other's eyes, their handholding, and their kissing is that splendid, exasperating thing, the first black on black heterosexual love story shown in the Marvel films.

T'Challa is reluctant, but is ready to be a remarkable leader. At the same time, he is not his father. He is tested throughout, challenged to consider exactly where Wakanda's loyalties lie. In his eventual pursuit of Klaue, he faces being surveillanced under the scrutiny of public eye and finding out some disheartening truths about his father, who had once said in the astral plane, "that a father who cannot prepare his son for the future has failed as a father."

The hypocrisy levels definitely tore T'Challas's fatherly love and admiration asunder. There is no question that what the former Wakandan king had did a horrific, inexcusable wrong.

Erik Killmonger (Michael B. Jordan) faces off against T'Challa (Chadwick Boseman).

With his malice lying deep in the feelings of isolation and trauma, Erik Killmonger is such a terrific many layered villain. Beyond the bad seed trope, he is the physical consequences of residual scars of seeing the abandoned body of his dead father like that of the black body grossly depicted in history, in our current landscape, dead and unattended, left without a sliver of compassion and empathy. The desire for revenge rightfully brews in him, gaining substantial ground as he grows up on American soil, experiencing heinous racism and oppression, while desiring a place in his father’s native homeland, the very place that he blames for his tragic childhood. Thus, his extreme politics bear great similarities between of the righteous need to arm civilians with tools necessary to flourish and thrive without fearing white supremacy. He is the Malcolm X to T'Challa's Martin Luther King Jr.

The heart of the film is finding one self conflicted between T’Challa and Erik, finding both sides wrong and right on different political and social parallels. That wherein the genius.

Okoye (Danai Gurira) and her beloved spear taking names in the midst of an awesome car chase.

Black Panther fearlessly passes Bechdel and Ava DuVernay tests with flying emergent colors. The women of Wakanda were an absolute, scene stealing treat! There are no background players and props here. Firstly, the dynamism between the four leading women was a chemistry barely tapped in the Marvel Comics film sphere seeing as most of its core female characters, Black Widow especially, operate alone in a male dominated situations. In Wakanda, levels of trust and friendship went beyond protecting their supreme ruler. Queen Ramonda, Shuri, Nakia, and Okoye are a beautiful, inspiring sentiment, an awesome portrayal of the communal bonds between the black women’s love for each other and their undying allegiance to their country.

Nakia (Lupita Nyong'o) and Princess Shuri (Letitia Wright) are ready to fight for their country.

Queen Ramonda has birthed two amazing individuals who have inherited her goodness, her tenacity, and her courage. Princess Shuya, the computer tech whiz behind Wakanda’s highly advanced superior technology had more than once saved the day behind-the-scenes. She is valiant, witty, sharp, and intelligent, a supreme highlight who had some of the best deep seated one-liners, especially about colonialism. Nakia, the prince’s heart, has love for all people, wanting nothing more than to share Wakanda’s wealth of knowledge and resources to those of the diaspora, but of course, her kind of vigilantism often gets her into trouble. She too is an excellent warrior, her fighting skills a tremendous glory to watch, seen in the visually stunning choreography sequence in the casino scene with her fellow sister, Okoye, the powerful, resilient, staff wielding leader of the impressively elite Dora Milaje. Okoye is fierce and loyal to the throne, which adds to her internal struggles further down the line.

In the forests near the mountains of Gorilla City, Jabari's Tribe, Queen Ramonda (Angela Bassett) and Shuri (Letitia Wright).  

When Nakia, having successfully taken the last of Wakanda’s most precious plant as Killmonger orders it all burned down, is pleaded by Queen Ramonda herself to engulf the advanced Black Panther powers, the powers entrusted in her familial line. Even with her own young daughter standing by, it is Nakia, that Queen Ramonda believes can save them.

Other must see highlights: Nakia's first secret mission of freeing captive women (because of its heartbreaking reminder of "Bring Back Our Girls," a movement to finding the missing kidnapped girls from Chibok in Borno State, Nigeria); Killmonger wisely informing a curator of the Museum of Great Britain that they stole artifacts from Africa (because us knowledged people cannot imagine Africans gifting precious artworks to "The Other" aka colonizers); M'Baku and his people barking over Agent Everett Ross, telling him that he couldn't talk (because white people constantly tend to speak over black people). A sweet Moonlight actor makes a cameo at the end (because this brings to full circle the monumental range of diaspora unleashed in this film, us brown and darker skinned complexions with our broad noses and protruding foreheads and full lips are present together).

Wakanda Ensemble: Forest Whittaker, Daniel Kaluuya, Michael B. Jordan, Lupita Nyong'o, Chadwick Boseman, Angela Bassett, Danai Gurira, and Letitia Wright.

Black Panther does have minor adversaries. It is unsettling that a white C.I.A. operative comes to their country, wears their symbolic garb, and eventually must wield their sophisticated devices to blast down Wakandan vessels. There is no queer representation, which makes one wish that Tessa Thompson's Valkyrie, introduced in Thor: Ragnarok, would fly on down to Wakanda and have her way with a Dora Milaje soldier. Or perhaps in its sequel (oh there has got to be a sequel), Roxanne Gay can be brought into the writing room. The most glaring flaw is that black libertarianism, seemingly the real supposed villain, the conveyed message behind Killmonger's "evil," definitely conjures internalized friction. This idea to save long suffering black people from imperialism (Wakanda has plentiful which Nakia earlier addressed) isn't Wakanda's problem, but what T'Chaka did to Killmonger is. Where was Killmonger's mother? What role did she play in his life, if any? His masculinity was a toxic, misogynistic brand and yet, his desire to arm the most vulnerable people in the world was moving in spite of it.  

However, it is imperative to remember that one fictional superhero movie cannot hold everything, be everything to someone. It would be irresponsible to say the least.

Black Panther has granted us a black director (Ryan Coogler), black writers (Coogler with Joe Robert Cole), a black costume designer (Ruth Carter), a black jewelry designer (Douriean Flecther), a black production designer (Hannah Beachler), a black soundtrack director (Kendrick Lamar), and an almost all black cast from different pockets of the globe. And that stands for something undeniably profound.

T'Challa (Chadwick Boseman) has reassurance from Nakia (Lupita Nyong'o) that he can and will thrive as king of Wakanda.

Overall, Coogler and his team have helm a magnificent picture with a fine, gratifying story that passionately entails the complexities of fights within the black community. He has achieved a finesse that few filmmakers in the comic book verse have by incorporating historical and contemporary problems. The performances are meticulously top notch and powerful, possibly one of the best ensembles of Marvel. With Oscar winners and nominees, Golden Globe contenders, NAACP Awards and Black Reel accolades, and even a Pulitzer Prize nominee in the mix, the stakes were high. From Chadwick Boseman's commanding lead (kudos to his dialect coach), Michael B. Jordan's ruthless aggression to Lupita Nyong'o's ferocious vitality to Danai Gurira's stout loyalty, everyone had came with their A game. Angela Bassett, Forest Whitaker, Daniel Kaluuya, Sterling K. Brown, Winston Duke, and Letitia Wright (who was superb in that must watch Black Mirror episode, "Black Museum') also put in incredible acting efforts.

Black Panther may not have televised the whole entire revolution, but this imperative comic book film drama passionately ignites conversations to take that leap.

Now go see and support the vision of black excellence. Wakanda forever.

'Dirty Computer' Promises a Great Return of Janelle Monae's Epically Engaging Short Films

Janelle Monáe is coming back to snatch afro wigs and lace fronts.

The ArchAndroid Electric Lady, our beloved Cindi Mayweather is finally emerging back to retake seat on her throne of psychedelic R&B pop funkiness.
And boy has she been missed!
Although it has been extremely wonderful that Monáe entered the acting foray, stealing our breaking hearts in Moonlight and enticing our innermost ferocity in Hidden Figures, we cannot forget where she has originated, where she has originally tantalized and seduced us-- through powerful, soul-stirring music, through thoughtful artful videos like miniature movies. Cold War, Many Moons, and Queen are definitely highlights in her rather impressive, atrociously underrated oeuvre.
Sudden teaser release of Dirty Computer, Janelle Monáe's upcoming follow up to spectacular albums, The Metropolis: The Chase Suite, The ArchAndroid, and The Electric Lady, shares a thirty-second rush of blinking rapid images that feature grouped beautiful black women in sophisticated costumes and gorgeous hairstyles whilst belonging and existing in dystopian science fiction spaces lit up by fantastic red and purple lights that bring out the marvelous glows of rich, diverse hues. Every moment is important and interesting, arresting the ravenous eye with such intense, gratifying portrayals of intimacy and longing. Surprisingly guest cameo-ing in Monáe's last video, Yoga, it is quite refreshing to see Tessa Thompson again, perhaps playing a tender girlfriend, a loving best friend. The delivered hints are fascinating, a mix between Afrofuturist fundamentals and present realities. There's the inclusive marginalized body experiencing sweet love and rebel carefreeness and contagious excitement.
Like Janet Jackson, Monáe has an authoritative control that makes music more than head bopping dance beats. She shoves negative stigmas and outdated stereotypes to the wind in order to bring forth a new daunting era, to inspire and influence new generations to awaken from the "sleep."
Here are some of my favorite snaps of Dirty Computer:

Thompson touching Monáe's face and hair, leaning in.....

Stepping in the club with fierce attitude.

Is this the infamous Anthony Greendown?

An affectionate hold.

Upside down with the popping necklace that charges around the braided wearer with radiant super charged energy.

The Tale of Four: Gabourey Sidibe's Charged Directorial Debut

The Tale of Four film poster.

Promise reveals itself through the thoughtful directorial debut of Oscar nominated actress Gabourey Sidibe. Between delicately plucking tender flowers to passionately snatching the plants out of their soil pots, Sidibe breaks open Nina Simone's powerful song, "Four Women," composing a short narrative that places itself into contemporary America. In the course of a single day, four different women occupy an apartment complex, facing personal turmoil, coping with images and events that lead to emotional and mental health fragilities that black women must often confront alone, without support. It has always been a disturbing perception that black people, black women in particular, are conditioned to be strong, to be so above showing emotional "weakness."

The Tale of Four shares the struggles, triumphs, and failures of Aunt Sarah, Saffronia, Sweet Thing, and Peaches.

Ledisi is Aunt Sarah.

First, duress and agitated, the black Aunt Sarah, obviously broken by the murder of a black man, cannot bear playing the parental role to two children whom so desperately need her. She is a morose creature, restless demons haunting the despair in her eyes, the burden weighing heavily upon someone so grossly unprepared for offering love to those in need.

Megan Kimberly Smith is Saffronia.

Battered and beaten, Saffronia, on the other hand, is the yellow scarred teen hiding secrets to her mother. In fact, this daughter/mother are both keeping traumatic wounds from each other, these wounds being emotional, sexual, and physical manifestations that must get out in some way before swallowed into internal gutter.

Dana Gourrier is Sweet Thing.

Confident and cocky, Sweet Thing is the tan, curvy vixen who wields sex as a weapon, as her sultry power source. She is raw and sensual. Yet brewing beneath the need for instant gratification, lies a desire for a deeper, fulfilling connection, something much more beautiful than the easy seconds to discard one's body for the empty, meaningless pleasure.  

Aisha Hinds is Peaches.

Peaches is the brown reckless crusader, a power-to-the people savior. Her room is an aggressive triggering of past images. From Emmitt Till's casket photos to slain young black people of our now, the little pictures and newspaper clippings that surround her add fuel to her angry rants, the flare of her message seemingly breaking the fourth wall, instructing viewers to take immediate charge, to bear no more suffering in an unjust society that has never wanted to be equal with any minorities. 

Gabourey Sidibe on set.

The Tale of Four's script is written by Ayanna McMichael and Kia Perry, two women who have worked in various departments of the film industry. This is their first imDb writing credit and the joined effort is pretty solid. It is definitely one of the most captivating perspective's of Nina's wondrous song. There is depth here as if they took the lyrics apart piece by piece and set these individual characters in this specific place, in this specific time. The performances also strengthened the short, especially the gritty significance of Peaches, that rough, embittered particle that passionately screams out injustice. 

Therefore, this short is a resonating piece to add to anyone's Black History Month roster.