Rap music was pumping as I walked into the food court. At the opening was a giant rectangle of tables selling discount sneakers and custom T-shirts. Every vendor had lines reaching into the common table area. And the box office in the back was swarming with Blacks.
For one day my upscale mall became the ghetto mall the Whites avoid.
The reason for this Dinduization was the opening of Black Panther. I looked at the times and the next four shows were already sold out. So I decided to come back the next day instead of going to an almost midnight show. All of the next day was sold out too. And so was the next. At this point I gave up and decided to wait a week.
Nearly all of those from the Wakanadan Diaspora had disappeared when I finally entered the theatre. It was packed with Whites. My mall had become White again except for a few little Black kids and old Black couples.
Those Whites are what I want to focus on.
The “We Wuz Kangs” Afrocentrism of the film has been dissected in countless articles in recent days. And they are all true. But it wasn’t Blacks that packed that theatre a week later. Hollywood wouldn’t make a nearly 400 million dollar movie for only 13% of America’s population. They knew something in it had to appeal to Whites. So what does the film say to them?
I’m going to dispense with summarizing the plot since it’s a good assumption everyone already knows it. Not only has every Alt-Right and Lefty review already done so, but its massive first week shows it to be a major cultural milestone that everyone knows the story of even if they’ve never seen it. Think Stars Warsand Titanic. So I’m not going to waste your time.
On an artistic level the film is top notch. The cinematography and set design are astounding. Wakanda surpasses any of the places created in the recent Star Wars films. It is beautiful to look at for 2 hours. Even better are the scenes in South Korea. They made me envious for what we could have created in the West if our traitorous elite hadn’t thrown away our homogeneity. The African inspired soundtrack was a perfect fit. A grand Wagnerian score would have felt out of place and wisely wasn’t used. The music was enjoyable to listen to truthfully. Two of my favorite “guilty pleasure” movies are Congoand The Ghost and the Darkness, so I have no problem with it in the context of this world. Quite frankly it was nice not to have wall-to-wall rap music in a film today. The film is also well paced as no scenes feel slow or unnecessary.
The film is not perfect however. Mainstream critics are trying to out PC each other in praising the film like Communist party members competing to praise Stalin most for fear of being made an “un-person.” But there are flaws. The most egregious are the fight scenes. They are so badly edited that you have no idea what is going on. The final battle between T’Challa and Killmonger is one of the worst I have ever watched in a theatre. You cannot make out the blows because of the bad editing, but beyond this the violence is simply “devalued” by the Black Panther suit itself, as it is indestructible. All fear for the hero’s safety is undercut since apparently nothing can hurt him. The first fight between Batman and Bane in The Dark Knight Rises is gripping because Batman is vulnerable and is getting hurt. By contrast, the Black Panther is emotionally “killed” as a protagonist, because nothing can touch him.
Speaking of Bane, Black Panther’s Killmonger is the center of the movie. Every other performance, from Chadwick Boseman to Forest Whitaker, is passable. But Michael P. Jordan steals the show just as Tom Hardy did as Bane and Heath Ledger as the Joker. He is absolutely compelling. Things just get better when he’s on screen. I say this as a WN, and I can only imagine the reaction of aggrieved Blacks to this cinematic racial warrior.
This is where the politics of the film come in. Black Panther is not a racial revenge fantasy like Birth of a Nation or Django Unchained. The film actually repudiates this. Killmonger is the villain and he and his plans for a race war are defeated. Whites in the audience can feel good about this.
But they aren’t let off the hook.
The old charge that Whites stole their whole civilization from Blacks is pushed in the film by two instances. First is the scene where Killmonger makes this point to a White woman as they stand in an African artifacts exhibition in a British museum. The second is the detail that we learn about Andy Serkis, the White villain. His weaponized arm, a literal hand cannon, was stolen from Wankanda. The colonial guilt is also enforced by the Wakandans themselves. The only good White character in the film is called a “colonizer” by T’Challa’s personal bodyguard even though Wakanda was never ruled by Whites.
I guess he sums up how “White allies” are seen by the BLM types.
The narrative that Blacks were the fount of civilisation is also pushed through the idea in the film that Whites are responsible for all the problems Blacks suffer. In fact this is the whole reason for Killmonger’s existence: to strike back at those who have oppressed him. He knew nothing but suffering as a black person born and raised in America. His father before him felt the same way after seeing the treatment of Blacks by Whites while undercover in America.
Just like the “colonizer” comment, Wakandans feel the same way despite never knowing white oppression. T’Challa tells Killmonger during their final battle that he will be just like “them,” meaning Whites, by going through with his plan.
What he’s saying here is that to commit racial violence is to be like Whites, or that Whites typically commit racial violence. I guess he hasn’t seen the latest interracial crime stats!
Then there is Killmonger’s death scene. T’Challa tells him he can heal his wounds, but he refuses on the basis that he will be thrown in prison once healed. Here he is identifying with those Blacks who supposedly jumped overboard from slave ships rather than make it to the New World as slaves. Of course none of his Wakandan ancestors were actually ever slaves, but that doesn’t matter here. He’s a Black in America and is thus another poor, oppressed “Black body,” another self-defined “victim” in the long history of those ravaged by evil Whitey.
Black Panther reaffirms the White Guilt narrative in both obvious and subtle ways. It’s not a revolutionary film in this sense. Nor is it revolutionary in its solution to this. Killmonger’s Black rage defeated, as I said above. Instead T’Challa proposes “coming together” to “move forward.” He says Killmonger was right and his ancestors were wrong for doing nothing. He starts by opening the first Wakandan outreach center in the building Killmonger’s father was killed; and then at the UN he gives a Nelson-Mandela-style speech about how Wakanda will lead the way into the future. Once again Liberals put forward the image of the Magic Negro who will help us put aside our past animosities to create a new “Brotherhood of Man” future. Think Martin Luther King, Nelson Mandela, and Barack Obama in a skin tight superhero suit.
What Black Panther says to those White audience members is the same thing Hollywood has said to them for over fifty years. It doesn’t scare them the way something like Birth of a Nation would. It reassures them that in a time of rising racial tension that everything will be OK. The Black rage of Killmonger and Black Lives Matter will be overcome by the racial understanding of T’Challa and Barack Obama. The message of Martin Luther King will always defeat that of Malcom X.
It essentially tells them to stay asleep as the blade of history comes ever closer to their throats.
This message is more dangerous than straight up racial revenge. That would at least wake them up. Racial tensions are rising. Combine this with plummeting birth rates and you have a very dangerous mixture. We could plausibly afford to indulge in such fantasies when our societies in the 1960s were overwhelmingly white. We can’t anymore.
Many have commented on what the “We Wuz Kangs” vision of Wakanda means for Blacks. But much more important, both subjectively and objectively, is what it means for whites.
In my opinion it reaffirms the naive, colorblind, “all races are the same” narrative. We have to remember that the average White normie going to see the newest Marvel movie doesn’t understand things the way those of us on the Alt-Right do. We look at Wakanda and laugh at an absurd fantasy. They look at Wakanda and see a comic book exaggeration of what their everyday Black friends and colleagues could have achieved as a group if their own group hadn’t been quite so mean to them. For they fundamentally believe in equality.
Earlier I mentioned the awe-inspiring scenes in South Korea. If Asians could create such a society why couldn’t Blacks? Aren’t we all the same?
The film’s message is especially dangerous as we are displaced in our own countries. Raise any objection to this and we are asked, “Why are you so scared?” Both Libtards and Cuckservatives believe the non-White masses replacing us can sustain our civilization. We are all the same after all. The film strikes a chord with both groups, as the forward looking T’Challa at the end is the leader of a country of “Based Blacks” who honor their ancestors.
Once again, it reassures White audience members that everything will be OK. Once Whites are no longer being awful to non-Whites they can reach the heights Whites have. Once we are no longer creating Killmongers, T’Challa’s can bring us into a new and brilliant future. The last scene of the movie drives this home, as an old White man at the UN ignorantly asks T’Challa how a bunch of poor Third Worlders can lead the world. He just smirks from the podium. The cinematic bigot doesn’t know the true potential of Wakanda. And real bigots don’t know the true potential of Blacks.
Black Panther is not a truly revolutionary film. That’s exactly what makes it such a pernicious and ultimately evil film.