Instead of viewing Black Panther’s success as an opportunity to complain about something that is lacking in our communities, non-Black people of color should appreciate the work it took to create something of its caliber.
By Sanjana LakshmiIt’s been a few weeks since “Black Panther” came out, and its reception has been deservedly overwhelmingly positive. Ryan Coogler’s filmis more than just another superhero movie: it is a blockbuster film that centers the experiences, cultures, and strength of Black folks in a way we have rarely, if ever, seen before.However, one particular response to the film by non-Black people of color has bothered me: the idea that we need to react by saying “where’s our Asian-American superhero movie,” or “where’s our Latinx superhero movie” (note that the latter doesn’t usually imply that they are looking for afro-latinx representation). All people of color deserve media representation, but this is not a constructive critique of ”Black Panther”; these concerns were rarely, if ever, raised during the decades of primarily white superhero movies. The fact that these questions are being posted in reaction to a successful Black superhero movie that is breaking the box office is no more than thinly veiled anti-Black racism.“Black Panther” was not simply handed to the Black community. Black folks fought for this movie. Media representation of the Black community has been historically stereotypical, if not offensive and racist, from caricatures to hyper-sexualization. Wakanda’s portrayal as a technologically advanced and successful African nation untouched by the devastation of colonialism and imperialism is groundbreaking in itself, and the movie’s depiction of Black women stands in contrast to the stereotypes that have been pervasive in our media.These long-awaited portrayals, and their positive reception, need to be celebrated. This is not the time for non-Black people of color to be saying, “what about us?” Black directors, producers, writers, and actors have been fighting for this kind of representation for decades. Black Panther’s success was not an easy feat.It is important to note, too, that there is an extraordinary amount of anti-Blackness in non-Black communities of color. In the South Asian American community, anti-Blackness comes in many forms: the billion-dollar skin-whitening industry, the attacks on African immigrants within the South Asian subcontinent, the model minority myth, and overt as well as subtle colorism. This only scratches the surface of entrenched racism within one non-Black community of color—all of this while Black communities have historically not only supported, but actively fought for the rights of non-Black people of color.
Nakia is the MVP of “Black Panther”— if anyone is revolutionary here, it is her.
By Clarkisha Kent It has been nearly two weeks since "Black Panther" came out. And in that time, I have become obsessed with the film. And
The “Black Panther” narrative allows Black women to be both angry and tender, both strong and vulnerable, both independent and interdependent on each other and those around them.
[This essay contains spoilers for Marvel's “Black Panther”]“Black Panther” is not your typical superhero blockbuster. It's a political epic, it's Black as fuck, it's critical of white supremacy, colonialism, and imperialism, and it delivers a monumental story about the tension between Black Americans and continental Africans. Setting up a battle between young King T'Challa (Chadwick Boseman) and N'Jadaka (Michael B. Jordan), nicknamed Killmonger for the many lives he seemed to enjoy taking during his time as a CIA operative, it tells this story in a way that subverts expectations about both Blackness and Africa on film.What it also does is magnify the Black women within the story, and that is something that should not be considered secondary to its other achievements, because the Black women of “Black Panther” are central to its narrative and ultimately determine the direction that it takes. Not only are Shuri, Okoye, and Nakia each integral to the plot, driving the story with their actions, voices, and decisions, but their characters also provide positive, determined, and humanized images of Black women and girls. These are characters who are multifaceted, imperfect, capable, intelligent, and authentic. I see myself and the Black women and girls that I have the privilege of knowing reflected in the characters of “Black Panther,” and that, unfortunately, is something that I cannot say often enough about Black women in media. [caption id="" align="aligncenter" width="610"] Okoye (Danai Gurira), Nakia (Lupita Nyong'o) and Ayo (Florence Kasumba) in Ryan Coogler's "Black Panther".[/caption] After last year's “Wonder Woman”, I contemplated the trend of “feminist triumph” in mainstream U.S. action films as an achievement largely for and about white women. Essays, think pieces, and manifestos flooded the internet to celebrate its apparent feminism after its release — with one even marveling at the fact that Diana's thigh apparently jiggled — in the same way that countless articles were written to praise the feminism of Imperator Furiosa and the women of “Fury Road" and Rey of “Star Wars: The Force Awakens” and several other actions films of years past. In these roles, white actresses portray characters who are larger-than-life, innovative, and unapologetically badass. Now, “Black Panther” finally makes a way for this triumph to be realized for Black women, and it does so in ways that extend beyond the strength granted to the individual women, because the ways in which the women of “Black Panther” are celebrated highlights the differences in social understandings of white womanhood and Black womanhood. Historically, being “strong” has never been a point of “feminist triumph” for Black women. We have and continue to face stereotypes of hyper-masculinity and animality, while white femininity has largely been viewed as delicate and docile.For white women, strength is something that expectations of white femininity have never afforded them, and the strength given to heroines like Wonder Woman can be used as a means to subvert the infantilizing expectations of white womanhood. Conversely, the “Strong Black Woman” stereotype goes hand in hand with the “Angry Black Woman” stereotype, and has been used as a convenient excuse to impose superhuman expectations on us, abuse us, gaslight us, and police our emotionality. The “Black Panther” narrative instead allows Black women to be both angry and tender, both strong and vulnerable, both independent and interdependent on each other and those around them. Among this long and distinct history of harmful stereotypes about Black womanhood is the phenomena of colorism and anti-Blackness, both in the media and in our lives, that is especially apparent in the way that dark-skinned women are treated in Hollywood. Light-skinned Black women are granted more visibility and often better roles that do not utilize the kind of misogynoiristic stereotypes that dark-skinned Black women are frequently limited to. This is especially limiting for older and/or fat Black women, who are at once recruited to play “Mammy” characters and also routinely mocked by Black men in drag and fat suits for “comedy.” One of the most significant aspects of this film is the celebration and normalization of seeing dark-skinned Black women front and center, as the heroes, the masterminds, and the love interests.Wakanda has been able to thrive untouched by white colonialism and its imperialist violences, its anti-Blackness, its body terrorism, and its gender violence through sexual and reproductive violations. White aesthetics and beauty standards are not dominant within its society, and therefore, it is Black aesthetic and beauty and African tradition which are respected. This is apparent in the presence of dark skin as well as in the abundance of natural Black hair and traditional African hairstyles. I cannot express how important it is for Black women and girls to see these things celebrated.
Like most movies for and about women, “Wrinkle” is being dismissed as not as relevant or important as one that is being marketed to the masculine cinematic gaze.
“A Wrinkle in Time” is a classic science fiction fantasy novel that has graced the hands of children for decades. The new movie, directed by Ava DuVernay, places a young, Black girl as the main protagonist and fills out the cast with people of color (POC). This is a huge deal, so why is it not spoken of with the same reverence as Ryan Coogler’s “Black Panther”? The answer is sexism and misogynoir. “Black Panther” is an important film for diversity across various spectrums. It’s a blockbuster movie that features a majority Black cast with major names attached to it, the merchandising is aimed at Black children, it’s actually being advertised and supported by the studio. Its existence in the pop culture scene and what it means for representation in media cannot be understated. The same can be said for “Wrinkle”, but when support was called for in making its opening weekend just as spectacular as what is promised for “Black Panther”, many Black male “nerds” scoffed at the idea. Because to them, this film was not on the same level. Where are the memes? The think pieces? The promises to show up with your kids, family, neighbors, and everybody on opening weekend? “A Wrinkle In Time” is the newest film version of the story, there have been a few before but this one is unique because it has made the main character, Meg Murry (Storm Reid), a Black child. The first point of contention for many is that she is of mixed heritage, her father is white. Because she’s not “all Black” then that is given as a reason to dismiss the importance of this portrayal for Black and Brown girls. That is bullshit. The reason that this film is not getting the support from the culture that it should is because it’s a “girl movie,” a space in entertainment that is woefully under respected, especially when it centers on women of color, as this one does. This film is being marketed for female audiences and the first merchandise we’ve seen from it are actual Barbies. Like most movies for and about women, “Wrinkle” is being dismissed as not as relevant or important as one that is being marketed to the masculine cinematic gaze.
While the Dora Milaje are frequently referred to as the King’s bodyguards, they are much more than that.
By Faridah GbadamosiThe reviews for the very highly anticipated film "Black Panther" are up and they are glowing. Currently sporting a 99% Rotten Tomatoes score despite attempts to disrupt that, the film is well on its way to possibly being Marvel’s best film yet. The most gratifying thing in all these reviews filled with praises is that the Dora Milaje get to shine. Going into the film, the thing that gave me the most pause was how the Dora Milaje would be represented, how the women in general would be represented. The Marvel Cinematic Universe has been a mixed bag when it comes to female representation in their films, and even more frustrating is the lack of women characters of color up until recently (though Valkyrie was a truly fantastic character). With the Dora Milaje we get to see black women warriors — some of the best fighters in the comic book universe — brought to life. More than anything, I wanted them to be written and shown to be amazing. While the Dora Milaje are frequently referred to as the King’s bodyguards, they are much more than that. They were introduced in "Black Panther" Vol. 3 #1 by Christopher Priest as an elite squad that exists to protect Wakanda, its King and also serve as his ceremonial wives in training (an aspect that has been thankfully dropped from the film). Created in a bid to keep the peace, the Dora Milaje is composed of women chosen from the rival (and occasionally warring tribes) that surround Wakanda, each given an equal opportunity to be the King’s queen. The Dora Milaje are easily identified by their shaved heads and African tribal markings. They are highly trained in a specialized fighting style that makes them great at fighting in any environment and with just about any blade. Most of the Dora Milaje are not named but a few have been identified with storylines of their own. There is Ayo who is a part of the elite team within the elite Dora Milaje known as the Midnight Angels, there is Nakia, who eventually becomes the villain Malice, and of course there is Okoye, one of the most loyal of the Dora Milaje, a trusted confidant to the King. While the Dora Milaje have been prominent in the comic's run since their introduction, they were finally given the space to exist on their own in Roxane Gay’s recent, and unfortunately short-lived, series, "World of Wakanda".