Black Panther: The Revolution will never be televised(Spoiler review)

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Black Panther, the most recent entry into the Marvel cinematic universe, has been greeted with the breathless anticipation that its arrival will Change Things. The movie features the leader of a fictional African country who has enough wealth to make Warren Buffet feel like a financial piker and enough technological capacity to rival advanced alien races. The change that the movie supposedly heralds is black empowerment to effectively challenge racist narratives. This is a tall order, especially in the time of Trump, who insists that blacks live in hell and wishes that (black) sons of bitches would get fired for protesting police violence. 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.

To explain my complaint, I need to reveal some key plot turns: spoiler alert.

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 that Black Panther is a movie about black liberation.

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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 P. 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 Los Angeles, 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 Los Angeles 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.

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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.

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 Avengers movies 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.

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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.

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. 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.

Hero for Who...

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 Los Angeles 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?

Article by Christopher Lebron

Is being transphobic a bad thing?(More sexual confusion)

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Are you transphobic?  You might be.  If you’re a heterosexual man and you’re not attracted to transgender women….then you are transphobic?  Sounds ridiculous right?  But that’s what these European social scientists are trying to teach the masses.  Last week there was a lot of talk on social media about washed up R&B singer Ginuwine. I saw washed up because he is currently on the UK reality show Celebrity Big Brother.  In the video(above) is shows an exchange between Ginuwine and transgender “woman” India Willoughby. India asked him whether he would date “her”.   Ginuwine said “Not if you told me you was trans”.  India then tried to kiss Ginuwine on the cheek and he pulled away.  And the militant transgender community went haywire!  They are saying he’s transphobic because he didn’t want to kiss a man.  This is a clear sign of insanity!  He has every right to reject India.  The funny thing is there’s all this talk about sexual harassment against women.  All these famous men are being accused of sexual advances against women.  But where are these women from the #Metoo movement?  Why aren’t they defending Ginuwine?  You can’t have it both ways.  Wrong is wrong.Trans2...

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I want you to take a good look at this picture(above).  Look at all these damn symbols. Why are there so many gender and sexual orientation symbols? Third gender? Pangender?  Genderqueer?  What the hell is a demigirl?  They’re just making up terms now.  And the mindless sheep are just going along with it.  I’m going to make this plain.  There are only TWO genders.  I repeat TWO.  All this nonsense about third genders and ten different sexual orientations is absolute rubbish!  Nothing but gibberish from these demonic people in the media.  They use all these big words to confuse everyone. I call it articulate nonsense.  Nothing but uneducated fools.  This is not the way of African people.  This is anti-life and anti-nature.  It goes against the ways of our ancestors.  This is not good for the black community. This is European pseudoscience garbage!  And should be rejected anytime you see it.

Gender Unicorn..

This picture(above) is the Gender Unicorn.  This is a carton character that teaches children about the gender identity.  You’ll notice on the chart that it says “sex assigned at birth” Assigned??  You are born a boy or girl.  You are NOT assigned a gender!  And this is the sick agenda at hand.  They want to start confusing children at a very early age.  The next generation will see transgender people as just a normal lifestyle.  They’ve already normalized homosexuals and lesbian.  So transgenders are the next logical step. There is a concerted effort to make sexual perversion seen as normal.  We must protect black children from this onslaught on their young minds. In African culture we understand the importance of masculine and feminine energy.  We know that in Maat there has to be balance.  Men are seen as the provider,protector and comforter to his woman and children.  The women are valued as great mothers,teachers and being great spiritual figures.  But this wicked European culture wants to destroy all of that.  They want to create chaos and destroy the natural order of things.  And to do that they must create confusion so they people can not get in tune with nature and their natural selves.  They want to annihilate the divine masculine and feminine principles.  And we can’t allow that to happen.

I love this video(above).  It’s a video clip of R&B singer Bobby Brown putting some homosexual in check!  It looks like an old reality show from a few years ago. Say what you want about Brown but I give him major props for this.  He was about to beat give this man a serious beating.  And I can’t say I blame him.  These homosexuals think they’re so funny making advances at straight men.  But they wont be laughing after their teeth get punched in.  And the media wants all black men to be seen as soft and feminine.  This is a clear attack on black manhood.  And the #Metoo movement is supporting a double standard.   If it’s wrong for a man to make unwanted sexual advances to a woman…then it should be wrong for a transgender person or gay man to make unwanted sexual advances towards a straight man. What is so complicated about that?  The definition of transphobic is a “person with an irrational fear or hostility towards people who are transgender,or who otherwise transgress traditional gender norms”. Well I’m not afraid of them.  I just prefer to date real women.  I’m attracted to women that were born women. I love the way women walk,talk and smell.  I love the softness of their bodies.  Does that make me a bad person?  I have a right to like what I want.  Here’s the truth  about this agenda.  These sick social scientists want to disrupt nature.  They know that they’re only two genders.  But they want to change the definition of everything.  These transgender “women”  want to be seen as real women.  And they are offended if you don’t view them as such.  Well  that’s too bad.  They can’t change reality. If you’re born a man you can change your penis to a vagina and get breast implants…..but biologically you’re still a man.  And I don’t care what any so-called sexual psychologist,therapist or celebrity has to say about it.  If that makes me transphobic…..then so be it.

Bakari Henderson beaten to death: Why didn’t his white friends help?

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Bakari Henderson was  beaten to death last week in the Greek Islands. He was only 22 years old with his whole life ahead of him. It was at a nightclub by a group of racist Serbians.  I heard that he had taken a picture with a white women.  And I guess the Serbian guys didn’t like that too much. He was beaten by a bouncer,bartender and six tourists. Henderson was with a group of white “friends”.  His so called friends say how much they loved him and cared for him.  So…why didn’t they intervene?  Since they loved him so much. This is a damn shame!

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I feel bad for this young brother.  I feel bad anytime there is the loss of black life. I feel for his family as well.   But we have to be honest. He put himself in harms way.  It doesn’t matter if they were Serbians.  Europeans are the same no matter where you go.  First things first. Going out with a white woman and a group of white friends to Europe is a bad move!  No black friends in sight. Europe is rampant with racism.  The anti-blackness is through the roof!  But I think he was young and naïve.  I guess he didn’t know it at the time put he put himself in danger by doing that.  Black people need to understand this when they travel abroad.  Places like Europe and Middle east are very anti-black.  I’m not saying you shouldn’t travel.  I think black people should get a passport and travel more.  But just be smart about it.  Go with someone that has been to the country before.  And go with a group of other black people.  Whether they are family or personal friends.  Just make sure it’s some people that aren’t going to  just stand around like cowards while  you’re getting beat to death.  A lot of our people have bought into the idea of being color blind.  Or that “loves sees no color”.  Well if you think like that you need to snap out of that fantasy.  It could be a matter of life and death. Let Bakari be a lesson to others. Peace.

A United Kingdom-Interracial propaganda Film

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Looks like Hollywood has the perfect film just in time for their Greco-Roman, pagan,orgy-inspired holiday known as Valentine’s Day.  The interracial propaganda is relentless.  When President Obama was in office there a big increase in interracial couples in television dramas,sitcoms and films.  By him being biracial,he was used as a symbol of some type of racial harmony. Of course we know this is nonsense. There can be no racial harmony when one racial group has more power than another group.  This is where the propaganda comes in. I   have covered  this subject many times in the past.  And it looks like I’ll have to continue to do as long as they keep putting these films out.  Now we have the film A United Kingdom. The basic synopsis :

“The film is based on a true story. Seretse Khama (David Oyelowo) is the Prince of Bechuanaland (now Botswana). In 1948 he meets and falls in love with London office worker Ruth Williams (Rosamund Pike). But their interracial relationship is not approved of by either of their families, nor by the British and South African governments. Seretse and Ruth must defy family, apartheid and the British empire to return from an imposed exile to their African kingdom, and assume power after independence.”

This trailer(above) is very hard to watch.  Here you have an African prince and he wants to marry a white woman??  This is total insanity.  This is self hatred to the fullest!  I don’t want to hear any crap about color blind love.  This is nothing but propaganda to make us love our oppressors.  A white woman as a queen in an African nation is blasphemous! This is a slap in the face to black love.   Seretse Khama is a disgrace to African people. Khama sold out his nation.  He is no prince!  Isn’t it interesting that Hollywood can find money to make this film but not about real African heroes.  There were African men and women that did great things in the past.  What about a film about Thomas Sankara?  Patrice Lumumba? Yaa Asantewaa? Queen Tiye? Marcus Garvey? Haitian revolution?  Queen Nzinga? Nope!  Instead they give a stupid ass love story between a brain dead Negro who gives his fortune away to a common white woman.  This film is stupid  and insulting on so many levels.

This is a very interesting interview with the stars David Oyelowo and Rosamund Pike. Pike says that the film tackles racial prejudice from both sides.  She says that it’s about two people that are color blind.  Give me a break!  This white woman is lying through her teeth.  She knows damn well no one is color blind.  And our society is nowhere near that.  The world is comprised of racial groups.  Color blindness is a myth. Then Oyewolo goes on to say that the way to “unite a kingdom” is through love. And that Botswana has control of “most” of it’s resources.  How did they lose some of their resources?  How took them? I think you know the answer. And he says that Botswana sees itself has post-racial.  This is man is insane! How can Africa be post-racial when you got Europeans trying to steal land and resources?  He also says that his white wife has a small part in the film.  She plays a…..racist!  How fitting is that.  You can’t make this stuff up. Black love and black unity is the way to fight white racism.  The answer is not marrying and making babies with your oppressor.  This film is designed to confuse black people about racism.

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This picture(above) is  of Amma Asante and her husband.  She is a screenwriter and director. She is the director of A United Kingdom. Why would a black woman do an interracial love story?   Well that’s an easy answer.  Just look  at her husband and  it’s easy to see why this so-called universal love story is close to her heart.

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Amma Asante is a very sick woman!  This black woman has lost her damn mind.You don’t think so?  Well check out the picture(above).  That is a photo of the upcoming film When Hands Touch.  It’s a World War 2 “love story”. It stars Amandla Stenberg who plays a biracial girl who falls in love with a Nazi youth.  What the hell??  Even though Stenberg is biracial in this racial context she will be seen as just a black girl.  I will cover the problem of biracial women representing black women in a later post.  But anyway this film has taken “love they enemy” to a whole different level!  They want us to love Nazi’s now???  What’s next?  A  love story with Adolf Hitler and Angela Bassett?   Or maybe Denzel Washington falling in love with a female skinhead?  I wouldn’t put it pass Hollywood at this point. Amma Asante has sold her sold for the chance to corrupt the minds of black people.  She is a female version of Lee Daniels.

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I understand better now why  David Oyelowo was chosen for the lead role.  In Hollywood he’s the go-to Negro at the moment.  He’s been in other anti-black propaganda films like The Butler,Red Tails and The Help.  And judging by the pic(above) of Oyelowo and his family,I think he was perfect for the role.  Oyelowo and Asante are one in the same.  They are both from the United Kingdom.  And neither one of them believes in  black love or black unity.  They believe the way to defeat racism,oppression, and colonization is to just love your oppressor.  Both of them are brain dead swirlers. But whatever you do,don’t support this film.  Save your money and stay far away from this garbage of a film.

Tales of Buffoonery: Episode 8(Self Hater of the Year 2014)

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It’s been a long time coming for Don Lemon. This CNN reporter never misses a chance to throw black people under the bus. Look at the above video and you’ll see what I mean. Lemon and Van Jones really went head to head. I found it pretty amusing. He is one of the most hateful anti-black homosexuals I have ever seen in my life. He believes that racism is a thing of the past. he also states in this video that he agrees with bigot Rudy Giuliani. Lemon gets the crown for Self Hater of the Year-2014. It was a tough race. Charles Barkley was first runner up. Morgan Freeman was right behind him. But Lemon was by far the worst this year. He loves to kiss ass. And not just in his bedroom either. I really wish CNN would get rid of this grinning little sissy. He’s sweeter than two cups of sugar.  If you would like to nominate someone else for Self hater of the Year,please let me know. I would like to know who you think should get a honorable mention. Here’s a few I came up with:

1.Nene Leakes

2. Sheryl Underwood

3.Al Sharpton

4. Lil Wayne

5. Lil kim

6. Tiger Woods

7. Lil Boosie(Said blacks were worst race in the world)