Heroic Warriors or Mindless thugs?(Killmonger,Magneto,Koba)

Erik Killmonger...

What is a warrior? What is an ignorant thug?  What is a ruthless killer?  What is a revolutionary? What does it mean to have courage? I’ve been asking these questions to people I know recently?  In the film Black Panther the anti-hero is Erik Kilmonger. There have been many debates on Twitter,Facebook and YouTube about whether Killmonger was a hero or not.  Killmonger’s main objective was to liberate oppressed black people all over the world.  He wanted to level the playing field against white supremacy.  And he was seen as the villain.  Now don’t get me wrong,Killmonger was no angel. Far from it. He was ready to kill anything in his way. He grew up in poverty in a crime ridden city called Oakland. So he had a lot to be  angry about.  I find it interesting that although KIllmonger is seen as the villain,white supremacy is never named in the film.  The word “racism” is never said in the film.  It’s only implied.  And that is the REAL source of his anger and his oppression.   But anyway,nothing would stop him from completing his mission.  Even with the odds against him he stayed focused on the mission at hand.  But he was portrayed as an African-American thug.  The real public enemy number one.  This is why Black Panther is the hero in a white-created film.  They don’t want children to admire the traits of Killmonger because he’s a threat to the racist power structure.  That’s why I tell people Black Panther is full of anti-black propaganda. What exactly is propaganda? Propaganda is the effort to spread a belief or an opinion about a certain issue. Commercial advertisers,government,media,pressure groups and public officials all use propaganda. The whole point of propaganda is an attempt to get people to think a certain way about something.  I feel propaganda is most effective when people don’t realize it as propaganda.  This is why characters like Erik Killmonger are painted as the bad guy.  His motives are liberating for black people but they portray him as a mindless thug so you associate the behavior with the ideology.


I’ve seen this pattern of painting revolutionaries as the anti-hero.  I remember reading years ago that the Marvel characters Professor X and Magneto were based off of Martin Luther King and Malcolm X.  Marvel comics founder Stan Lee also admitted that the X Men super powered mutants were based off of the black civil rights movement going on in the sixties.  This is one of the reasons Magneto is seen as the evil villain. He wants to liberation of mutants against oppression.  But when you listen to Magneto talk about the the situation of mutants he’s always making valid points.  And he believes if mutants want true freedom they have to do it ” by any means necessary”.Malcolm Magneto..


Another character that was revolutionary was Koba from The Planet of The Apes.  Koba believed that apes shouldn’t trust humans.  The main leader of the apes was Caesar.  He and Caesar rarely saw eye to eye. I also noticed that Caesar was a darker skinned ape. Whereas Caesar has a more light skinned face. Koba also had a scarred face from the torture he received from evil humans.  So Koba even looked like an ugly monster.  This is also subliminal programming.  It’s to give the impression that if someone is unattractive then they must be evil.  Which we know is not true.  I’ve met plenty of good looking people that were selfish,vain,manipulative  and egotistical.  But people are trained to believe that exterior beauty translates to inner beauty.  Nothing could be further from the truth.  Here’s a synopsis from Gaspar Yanga:

“In the begging of this movie, some scientist wander into the apes territory ( theme of White innocence) and have a dispute with the Apes, in which one Ape is shot. Caesar, being the leader tells the people to leave and takes the injured Ape back home. Koba, having been abused by humans (Europeans), tells Caesar they should follow the humans back to where they are at. Koba comes back and tells Caesar, that he believes they should attack the humans before they get stronger. Caesar makes a snarky comment about how the only thing that Koba, learned from humans is hate. ( theme of seeking retribution against Europeans is wrong).

Koba, goes back into the human’s camps, only to find they are stockpiled with WEAPONS. The innocent humans that Caesar loves so much has a army reserve of military grade weapons. Some of the humans go back to the Apes home, while Koba was gone, in order to seek Caesar’s approval to search for a dam which could power their city. Upon, rushing back to tell Caesar of this great potential threat of humans, Koba is furious to find out that that humans have been allowed back into the Apes territory, along with the human that shot an ape named Ash. Koba and Caesar fight before Koba can tell Caesar, that the humans are preparing to for some type of war with all the weapons. Koba comes up with this genius plan, he goes back to the human camp to steal a gun so he can use it to shoot Caesar and tell the Apes that a human shot Caesar at night and that they should attack the humans. Koba’s brilliant plan works. Koba shoots Caesar at night time while some of those humans are in camp and he runs to tell the other Apes, that humans shot Caeser. Well, during the Ape attack on the humans, Koba gives a command to kill this human to another ape, this Ape refuses, Koba pats him on the back, then drags him by the head and throws him off the ledge showing the other apes who is the king of the hill. Koba, then arrest all those who are loyal to Caser and like humans. Koba is an example of supreme intelligence, military strategy, and brilliance. He removes a weak leader with a brilliant plot. He then consolidates power through force (Mao style) and he units the Apes, around their Ape identity. Koba is the ultimate Ape Nationalist and Freedom Fighter. The only thing that Koba does not tolerate is softness for enemies, he considers that WEAKNESS.

Caesar, in talking to the “GOOD HUMAN” (WHITE), says this ” Ape start war, Human will not forgive”. Caesar, blames his own people for the war. The humans created the experimental drug, the humans abused the apes giving them a reason to never trust them and the humans were trying to recolonize the world. Caesar, blames Koba and his people for starting a war that was caused by the humans (Whites). This, of course, is how the warped mind of the European is even in his movies and how he plants this false consciousness in others (mostly Black Christians). The writers actual ignore the history of the Apes and manipulates Caesar into this self hating, self loathing ape who has a soft spot in his heart for humans. Koba was punished in the movie for: 1. Never forgiving humans 2. Loyalty to his own kind and Caesar is made a hero for 1. Forgiving the Europeans 2. Seeing the good in all people.


The problem is people want a kind and sweet revolution.  They don’t know what it takes to get real freedom and liberation.  A real warrior will do whatever he needs to do to get freedom.   A warrior is usually a person experienced in warfare.  Or a person that has shown great vigor,aggression and courage. In a white racist society they want to demonize revolutionaries so people don’t see them as heroes. These films want you to identify with the so-called heroes.  But if you’re an oppressed group you should be rooting for the revolutionary.  When the European colonizers came to America that killed everything that wasn’t European.  They killed millions of Native Americans.  They killed millions of Africans.  They raped women and killed babies.  They were heartless and ruthless and their quest for power and domination.  They were bloodthirsty and heartless!  That’s what they did in the America’s and in Africa. They know what it takes to achieve a revolution.  This is what brave Haitians did in the revolution in 1804.  These were real Africans warriors that knew who was the enemy.  They couldn’t show any weakness against the evil Frenchmen.  And these are the qualities that fictional characters like Killmonger,Magneto and Koba possess. This is why it’s important to recognize propaganda when it’s in front of you.  And these Hollywood films are full of them.  When I was younger I couldn’t see it.  But my eyes are wide open now.  They’re training you to root for the real villains.  So in essence,they have you going against your own self interest.  And ultimately your freedom.


Black Panther film- Psychological Warfare by Franklin Jones

Black Matrix..

Most people believe that white dominance is maintained only through their economic and military powers. However, it’s also equally maintained through psychological means. Oppressors also maintain their power by constantly indoctrinating narratives into the minds of the oppress that aids in the preservation of their dominance. Because if the oppressed are left to functions based upon their own narratives, born of their oppression, this breeds dissent among them that leads to revolution. When the oppressed functions based upon their own narratives many are even willing to die and become martyrs for their causes.
This is why white societies never acknowledges, validates, nor provide a national platform for any narratives from a Black perspective against white oppression. White societies are scripted so that the prevailing narratives always favor themselves.
Have you ever noticed that whenever a Black person is invented as a guest on a national television show to speak out about how white racism and white oppression profoundly effects our communities, that the white establishment always invite another guess to vilify them and or to argument? However, to the contrary, whenever white people from anywhere around the world speak about their oppression by a white government their words are praised and efforts are applauded by white societies. In fact when Black people speak out about their oppression and seeking liberation from it, even when using the exact same words as whites, we’re immediately labeled as militant radicals and criminalized. In the U.S were now labeled by the FBI as Black Identity Extremest and are placed on their watch list. This action by the U.S. white establishment is actually much more nefarious than just white hypocrisy. It’s the deliberate tactic of:
Nowadays, whenever Black populations attempts to protest any mistreatments they endure from white societies, the white establishment will never legitimize these grievances. They will instead always respond by presenting narratives that counters and undermines the Black protests. It’s a distraction tactic known as Mass Gas Lighting.
This tactic is also what’s being done when the white establishment response to the Black lives matter slogan by saying that all lives matters. It’s also what’s being done when Black protest against the repeated killing of their love ones by white police officers and the white establishment responds with the false narrative that Black people are declaring a war on police officers.
The term gas- lighting psychological abuse is usually associated with individual abusive relationships, wherein which one person is manipulated and mentally abused for the benefited of the other. However, that same system is also being used on a large scale level by white societies against Black populations. It’s then referred to as Mass Gas Lighting Psychological Warfare.
Mass Gas lighting psychological warfare is a form of mass psychological abuse wherein which the oppressors routinely creates, and then imposes, false narratives beneficial to their own cause upon the oppressed population. It is a insidious form of psychological abuse wherein in which information is always twisted, spun, and or selectively omitted to favor the oppressor. This routine behavior, by the white establishment, in response to Black protest, is intentionally being done to mentally abuse the Black population. It’s a insidious psychological warfare system. This tactic is also what’s actually being done to Black people whenever white societies labels us (Black people) as being racist for protesting against their white racism towards us. This tactic shifts the focus away from the inequality being expressed by the Black population and forces the Black population to instead engage in defending themselves against false accusation of racism. Meanwhile the true issue of Black inequality is never addressed by the white establishment.
This mass gas lighting system is the reason why we literally have peaceful Black protesters crying; “please stop the white cops from killing us”, and the white establishment responding by criminalizing them as thugs, and using many deflecting commentaries to avoid addressing the issue. This psychological warfare practice is what you’re witnessing when the white establishment says; “All Lives Matters”, as rebuttals to the “Black Lives Matters” slogan. This rebuttal is merely a distraction tactic. It’s intentionally designed to divert attention away from the issue of Black victims being routinely killed by white cops. It’s also used to defuse the moral statement of “Black Lives Matters”. The flag kneeling issue is also merely a distraction tactic. It’s intentionally designed to divert attention away from the issue of Black victims being routinely killed by white cops.

Within this psychological warfare system, the white establishment is never acknowledged as morally wrong, and the Black oppressed are never acknowledged as morally correct. This practice is continued until the Black population begins to doubt their own positions. Many begins to doubt their reasons for protesting, thinking that if their cause isn’t being recognized by the dominant society then perhaps it lacks merit. The mind’s of targeted populations are quite easy to manipulate if they’re unaware of what’s being done to them. Once minds have been confused, manipulation becomes simple. The mind will even ignore common sense, and rationality falls away, even overlooking hypocrisy and deception.
Our common mistake, as Black people living within white dominant societies, is that we perceive ourselves as being fully citizens however in reality nothing could be furthest from the truth. Although white governments professes equality for all citizens they’re secretly unrelentingly committed towards the preservation of their nation’s white dominance. This unrelenting commitment has always necessitated that systems be secretly implemented against the interests of Black populations- as a means of protecting their white dominance.
During the 1960’s Civil Right Movement, the blatantly racist Jim Crow segregation systems used in the past for maintaining the U.S white dominance had ran their course– thus became no longer morally and socially acceptable with the changing times. Therefore moral judgement was on the side of African Americans. As a result of this African Americans gain much global attention and support. Dr. King was even awarded the Nobel Peace Prize. The situation tarnished the U.S image, eroded its globally standing, and embarrassed the US government. This required that the white establishment abandon this blatantly immoral practice and develop more covert methods for protecting the nation’s white dominance. The logical solution was use the same well proven psychological warfare propaganda campaigns that were already used to control the masses domestically and used against foreign nations during wartime to now control Black populations. These warfare tactics that are presently being deployed against Black people by white nations are Mass Gas Lighting Warfare, Manufactured Consent (for Black mistreatment), and
Black Demoralizing Divide and Conquer Warfare.
I have already explained the Mass Gas lighting warfare tactic, now I will explain the two additional listed tactics of :
1. Manufactured Consent (for Black mistreatment).
2. Divide and Conquer Warfare.
1. Manufactured Consent for the mistreatment of Black populations.
Whenever those that are in power wants to created a national setting that allows their mistreatment of a targeted population they use media to spread fraudulent propaganda portraying the targeted population as being a major problem of the society –through lies and manufactured news items. This create a consensual national setting that justifies their mistreatment. The tactic is called:
What this more specifically means is to turn a harmless population into a fearsome enemy of society through false negative news media propaganda. Then use the false negatives perception of the group to justify routinely attacking and killing them. This tactic is precisely what is being done to Black populations by white societies. The white media intentionally portrays Black people as being a part of a treacherous, frightening, and insane fringe, thereby creating a false impression of wanton Black criminality and violence. This create contemptuous, distorted perceptions and acrimonious beliefs about the Black population that are designed to makes the nation and the entire world insensitive to their plight, tranquilize efforts on their behalf, and makes any serious criticism of White racism now almost impossible. When contempt of Black people is made to appear to be justifiable, this creates conditioned responses in the nation for eventualities to unfold against Black populations without opposition or resentment. Furthermore, it creates a consensual national setting wherein which witnesses, and bystanders, will sit by idly allowing Black populations to be brutally mistreated under the belief that it is all justified. This is very evident within the U.S. Criminal Justice system wherein which Black people are disproportionately incarcerated, given stiffer sentences, and are more likely than other racial groups to be treated brutally, beaten, and fired upon by police officers while they are unarmed. This is the reason why it is possible for white cops to habitually kill unarmed Black people and avoid being indicted by merely saying that they feared for their lives. These injustices are now often ignored because the perception has subconsciously become that it’s all now justified.
The white oppressor’s greatest power over us is their ability to control information that shapes our perception of reality and the capacity to make us then act according to these false perceptions.
The white media’s unrelenting negative depictions of Black people– that amplifies the negative to the point that it distort reality– is much more than just bias media reporting. It is also actually a Divide and Conquer psychological warfare system. Throughout world history, oppressors have often deployed divide and conquer tactic against the oppressed because self loathing and division amongst the oppressed makes them easier to control. This modern system is deplored like a massive media marketing campaign that constantly subjects Black people to seeing only the fraudulent worst within themselves. Its weapon is the message that it carries. Within this system fraudulent black racially demoralizing propaganda is pumped unrelentingly into the unsuspecting minds of Black populations–without being challenged or counterbalanced by an equal amount Black positive racially affirming information. It conveys the subliminal message that Black people are there own worst enemy and therefore needs whites to govern over their lives. Moreover, that Black people should admire, respect, and trust only Whites. This system is extremely effective because when Black people are repetitively presented these noted narratives from trusted white media sources it can be very difficult to resist it’s implied programming. Especially when the propaganda is being told daily and so unrelentingly.
With time, being unable to refute the constant negative information about themselves, many Black people eventually comes to accept them. They unconsciously influences how many within the Black population perceives themselves, creating division and self hatred among themselves. It also turns the collective aggressions of Black people away from the white society and turns them inward towards themselves. Our core problem has always been the monopoly that the white oppressors have over our minds. This warfare tactic works so well that it not only makes Black people more compliant with white dominance over their lives, it in fact makes many even prefer it. It’s at the root of the self hatred affecting many Black people and false feelings of false superiority held by many whites.
Throughout history the oppressor’s depiction of the oppressed has never been a true one. It is always a false depiction of the oppressed that serves the nefarious agendas of the oppressors. The oppressors always vilify the oppressed to validate their mistreatment of them. They always dehumanize the oppressed to make others insensitive to their plight. And they always depict the oppressed in a manner that demoralizes them. Because this makes the oppressed self loathing and divided – which then makes them easier to control. These are the exact same tactics that white societies presently uses against Black populations.

Article by Franklin Jones.  Be sure to buy his book The BlackPeopleMatrix.

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

Black Panther Film...

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.


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.


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.


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

African Queen Nefertiti was European?(And other myths)

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I watched the Today Show last week.  And I thought that since it was Black History month they wanted to insult the intelligence of black people.  The video(above) shows this fool Josh Gates from the Travel Channel showcasing a recreated bust of King Tut’s mother,Queen Nefertiti.  This is being called an “accurate depiction” of Nefertiti.  This is very insulting!  This recreation looks like Celine Dion with a tan!More Lies2...

This is nothing but pure lies.  This is just more proof that they’re scared of the truth.  How could a bunch of Europeans survive in hot Africa?  They can barley withstand the sun if it gets over 90 degrees.  You expect me to believe they could withstand Africa hitting over 100 degrees temperatures!  No way!  They couldn’t handle that hot ass sun for thousands of years.  They know that Kemet(Egypt) predates European history by thousands of years.  They know that it’s older than Greece and Roman civilizations.


Keri Hilson...

I just want everyone to be aware when lies are presented as truth.  They will do anything to create the myth that they are the beginning of history and the everyone else is an afterthought.  Nothing could be further from the truth.  Although I must admit that the timing is very suspect.  Not only is it Black History month but the Black Panther film is coming out soon.  In the past Africans ruled for thousands of years.  Our civilizations are much older than Europeans themselves.  We had already established schools,politics and governments while they were still living in filthy caves,practicing homosexual sex and eating raw meat.  So when it comes time for presenting a black queen they give us a white woman.  And in most films about Kemet(Egypt) they have white actors playing the parts.  But in Black Panther we have African people who are powerful and ruling their own nation.  So they have no problem showing us as kings and queens in a fictional context.  But in real life they present themselves as the great kings and queens of the world.  We are the Black Gods…they are the phonies. It’s all about controlling the narrative.  And this is how Europeans have tricked the world into believing they are the center of the universe.  They are nothing but low life lying,cheating,decepetive culture vultures.  They are masters of deception. Are you catching on?

Degenerate Sexual Practices of Europeans(Sexbots and Animals)



The sexual degeneracy of Europeans goes way back to Greek and Roman times. I’ve done a lot of research on what Europeans did back then.  And through white supremacy they want all races to see the world through their eyes.  Homosexuality,lesbianism,pedophilia and bestiality are nothing new to their culture.  But theses are not the ways of African people.  Black people should reject all of these sick practices.  They are anti-life and go against nature.  It is disrespectful to your ancestors to engage in any of this depraved behavior. We are totally different than them.  Their ways are not our ways. Make sure your children know this. We are hue-mans and they are mankind(kind of man) That’s why over the years they have subtly been pushing these sexual practices in the media.  I have seen these practices in television sitcoms,commercials and motion picture films.  Also many of these white social scientists are pushing the idea of transhumanism. Basically transhumanism is the belief that mankind has reached the limits of evolution.  And the only way mankind can keep evolving is through science and technology.  You see many Europeans believe they evolved from monkeys and apes.  Most black people know this is a silly theory.  Most black people in a Creator or a higher spiritual Being.  We have the power of melanin and dominant genetics on our side.  Our melanin gives us the power to reach a higher spiritual level than Europeans.  Since they have a lack of melanin they can not ascend to a higher realm of consciousness. White people have reached their physical and mental limitations.  Which is why they keep searching for the next big thing to turn them on sexually. Africans believe in working with mother nature and the ecosystem.  Europeans see nature has something to be controlled or dominated.  But this is why they are building sexbots. What type of man or woman would have sex with a robot?  They would have to be a very lonely and pitiful person. This is why there is such a disconnect to hue-manity.  All this obsession with cellphones,iPads,iPods and computers has gotten way out of hand.  All I know is that anyone that attempts to have  sex with an animal or robot is very sick!  I say attempt because this behavior is anti-sexual.   Sex is between a man and woman. There is NO other definition of sex.  Don’t let these white social scientists mislead you into thinking otherwise. This is abnormal,perverted,immoral and deviant!  Nothing but pure debauchery! These are very sexually confused people. But this is the type of depraved and disgusting practices these Europeans are pushing on the masses.  Be sure to check out the two videos(above) and let me know what you think.   But stay vigilant and always be aware of this wicked demonic  system.

Why I will not be seeing Wonder Woman

Black Wonder Woman....jpg

I almost did it. I selected a theatre and even looked up showtimes. As I began to mentally assemble my outfit and rework my schedule to accommodate viewing the film, I realized that I was all too familiar with this story.

Wonder Woman is yet another page in the consistent white female narrative designed to portray white beauty intertwined with an earthly anglicism. I need not see this film to know that it will portray the white Woman as the catalyst for all things good in a “bad” world.

Contrary to the ideally nurtured in the western world, the bad is seldom blatant. Both the individual and the collective have a fair chance at combatting that which they can see. The true “bad” in the world lies in Wonder Woman-like figures, whose embedded message seeks to uplift through depicting the very exclusivity that dominates the western hemisphere.

Wonder Women debuts in a climate that veils this exclusivity with the implication of “change.” Seemingly every film and television series has adopted the feminist agenda, avidly if not aggressively, feeding this fictive utopia to the masses. The film exists to promote feminism as the cure to all worldly evils, omitting of course that feminism is a worldly evil. Clad in a form-fitting costume with long and silky dark hair, Wonder Woman encompasses the conventional sexiness of a blonde with the rarity of a red head to project feminism as the height of femininity. Wonder Woman is a dark haired, dark- eyed white Woman–the pseudo “every woman” in seeming to encompass lightness and darkness simultaneously. What the casual gaze may fail to see, is that Wonder Woman resembles her target audience, and encompasses all her acquired audience wishes to become.  Her dark hair provides a strategic contrast to her fair skin, painting the “Wonder” of wonder woman as encompassing the figurative light to societal conflict or darkness.

The wonder in Wonder Woman is that she embodies the antidote to all the world’s problems. She’s Helen of Troy mixed with Hilary Clinton–a savior to white women but a mortal enemy to the woman of a darker hue.


Western childhood functions similar to this film, painting the white Woman as Wonder Woman in far less attractive variants. From the abundant white female school teachers, to the tooth fairy, Mrs. Claus, every princess from Cinderella to Snow White, the white female body is a consistent figure of humanity to the western gaze.  These figures function to embed into the black female psyche what “Superman” and “Batman” seek to implement into the general western psyche–that if you are white, anything is possible.

But as the young girl who reads these stories, attends these schools and watches these figures on television grows up, the fantasy of Wonder Woman vanishes into reality.  Instead the harsh world eventually prompts the once naive black body to wonder what was ever wonderful about these pristine figures of their childhood. Although portrayed as the hero in fictive and real scenarios, the white woman is gradually unveiled as an inevitable villain to the black female body.

So, as a black woman, I know this film functions as erasure. I know this film functions to seduce me into a amnesiac state where I falsely separate white female action and intention from white male supremacists. From the white women who chase our black men than scream rape when it goes sour, or objectify our wealthy black men as cash registers, or reduce the quotidian black man to his genitals, to the white women who abrasively target black women at work, back to the very white women who tormented the black female slaves—this movie functions to force the black psyche to accept a white hero, despite centuries of white female villainy.

White heroes, whether male, female, trans, or what have you, are never capable of saving anyone but themselves. For healing is incompatible to the autocrat, who decorates their lives with the blood of the oppressed.

Wonder Woman

Therefore, the true wonder woman will never occupy a leading role in mainstream film. She probably will never make six figures and is unlikely to rouse a shallow gaze on the street.

The true wonder woman has probably yet to arrive home from her twelve-hour work-day, her twenty-four hour job as a mother, or full- time victim of white supremacy. The true Wonder Woman sleeps at night with a six-figure debt heavy on her conscious from daring to dream outside of the confines of systemic oppression. She walks through a neighborhood of businesses owned by any and everyone but those who look like her. She faces ridicule for her skin tone, her nose, and curvy body and faces countless queries if her beauty or attributes are deemed outside the scope of blackness.  The true wonder woman is literally and figuratively raped, never respected, or rewarded. She is frozen in time, pieces of her flesh still floating throughout the Atlantic Ocean, or concealed in an unmarked grave beneath a skyscraper. She is dismembered by a system who uses her limbs to assemble their privilege and writes their laws in her blood.

She is the unspoken gospel of this poached land—the original statue of liberty—the feminine mold to which every race, ethnicity, and creed stealthy covets.

The Wonder Woman film exists to place the “wonder” into the woman concept. As a being excluded from this concept, I replace wonder with “black.” For the black woman does not need wonder, she is wonder. Furthermore, members of the black female collective need not go to the movies to view this fictive wonder woman—they must simply look in the mirror.

Article by CC Saunders