We lost him. Somewhere in that unrelatable ethos of the beyond, Chadwick Boseman is forming that megawatt electric grin. He’s looking down on his legacy and seeing the millions that mourn him. He’s seeing the tributes and the outpouring of grief.
And he is smiling.
Somehow, in a moment where his star shot brightest and highest, we lost him.
Our king has been stricken and lost. He has ascended to a higher throne, a throne we cannot comprehend. But we dare to dream, that he — our erstwhile marvelous king — is in a better place. A place that we cannot imagine but one we know that he ascended to because that is what it is to know of a man so great and yet so plain in his demeanor and words. We just know that of him. We feel that of him when we mention his name.
Chadwick Boseman did not pass away because of cancer; no, he transitioned in greatness as a man prepossessed of a quiet nature and commanding presence. Opening to the world as a myriad of characters, Boseman caught the eye and the heart of many through his measured portrayal of King T’Challa in the awesome, inspiring bombastic Black Panther. He was T’Challa, in portrayal and visage. In spirit and in mercy. He invited us into Wakanda, where black people are technologically advanced and free. He made us feel as though we were his loyal subjects, at any moment just as prepared to throw up the Wakandian salute as die for his highness. That a man could inspire that in nearly three hours of screen time is a testament to his power.
But we lost him.
There will never be another T’Challa or Chadwick Boseman. As it should be. We do not deserve a star so bright, and we should not ever be so deserving of the essence of him ever again.
Lo, we lost him, but he will reign forever.
Lyndsey Hicks is editor-in-chief of Gaming Insurrection. She can be reached by email at lyndseyh[at]gaminginsurrection.com
“We’re in the endgame now.” Dr. Strange was and always has been prescient about the situation at hand. Whether it’s his own battles with the likes of Dormammu or Shuma Gorath or facing off against Thanos, the Sorcerer Supreme of Earth is always planning and stark about the reality of whatever happens to be going on. In this instance, in Avengers: Infinity War and Avengers: Endgame, Strange was the most grounded and gave the most sobering assessment of all: The Avengers were going to lose before they won.
Based on Strange’s assessment in Infinity War, you’d think Endgame would be some bleak tale of revenge and that’s it. Technically, Endgame does begin as that, but it morphs into something more. It’s a tale of loss, hard choices, joy and survival. And, yes, revenge. It’s a do-over on some levels also. See, here, the Avengers who survived “the snappening” in Infinity War have to go on. They’re living day to day without their comrades, friends, loved ones and mentors/mentees. Life is bleak, with monuments to those lost when Thanos took out half of the universe’s population with a flick of his wrist and a twitch in his gauntlet. Time has, at once, stood still and moved on for those still around. They’re finding ways to cope and that’s the meat of the first third. It’s a brilliantly deconstructed look at the world in which the Avengers did not win. The visceral raw emotion of Avengers coping, and the world at large is beautiful and simultaneously heartbreaking. Of all the Avengers, Thor and Hawkeye are depicted as having the most pain with Black Widow a close second. It’s the train wreck that you can’t look away from and feel in your soul.
From that wreck, however, in the second act rises the phoenix of the Avengers and their allies. The most genius among them — Scott Lang, Hulk and Tony Stark — figure out a way to effect time travel. They engineer a way to travel to different points on their established timeline to retrieve the Infinity stones and bring everyone back. This makes for great comedy and revisits of some of the cinematic universe’s most memorable moments. Pop culture bits (such as America’s Ass for Captain America/America’s sweetheart Chris Evans and “Hail Hydra,” also for Cap) even make their way in, lightening the mood a bit. But alas, as you make one stride forward, there will always be another that takes you back. Hard choices must be made in order to see some gain, or so Marvel would have you believe. So, yes, you’re going to say goodbye to some fan favorites and yes, this is signifying that their time with the franchise is coming to an end. However, it’s handled well, and it invokes emotion so much so that young children will cry at the thought of losing their favorite superhero.
And, for a minute, let the editor just step back and reminisce about the experience of seeing the current crop of Avengers gathered together for likely the last time. When there was a pivotal death, at the most pivotal moment — yes, THAT death — there was not a dry eye in the house. A young child, no older than 6 probably, cried her eyes out. Adults around us, including the editor, sniffled and cried as though we had lost a beloved family member. THAT is how you do a proper sendoff to a beloved character and that is how you wrap up a story, one of redemption and selflessness for the character and the actor in real life.
Every beat hit and every note cleanly marked is the hallmark of these Avengers movies and Endgame was no exception. Threads from the early days were neatly wrapped and character investment paid off for nearly everyone. It was enough that when the lights came back up, the movie received a standing ovation and nearly everyone waited for a mid-credits scene that would never come. THAT is how you wrap 11 years and 22 movies into a neat package and remind everyone that you’re the master of the genre. That is how you thank your fans for taking the time to care and get to know your ensemble cast through individual movies and properties.
That’s Marvel, baby.
Like the comics?: 6 Casting: 10 Writing: 10
Overall score: 26 out of 30 or 8.6
HOW WE GRADE We score the properties in three categories: Casting (or voice acting in cases of animated), plot and similarities to its source material. Each category receives points out of the maximum of 10 per category and 30 overall. The percentage is the final score.
Seeing your people represented on the silver screen when you are a person of color means quite a bit. Seeing them do important things and be decent human beings means quite a bit more. Seeing them as royalty and enjoying prosperity means everything.
Written well and superbly acted, Black Panther has the difficult job of being a lot of things to a lot of people and it succeeds. Even with the heavy topics of race and what it means to be black in the world, there are light moments. Black Panther isn’t without humor and it’s deftly mixed in with the right balance. How it achieved this balance is important because it has quite a few stories to tell in a short amount of time.
When Black Panther was announced, the most we knew about T’Challa was from the comics: He was the ruler of Wakanda — a prosperous black nation in Africa that was hidden from the rest of the world — and that he was married to Storm of the X-Men. Also, he was on a quest of revenge for the death of his father T’Chaka, which occurred in Captain America: Civil War. That’s about it. But then something wonderous happened: Marvel started talking about T’Challa’s origin story and why it was important to get it out there. And that push began one of the greatest runs ever for a comic book property.
Black Panther is so layered with different concepts that it’s hard to not go down the rabbit hole too deep. Black Panther starts out with the re-introduction of T’Challa some months after the death of T’Chaka and T’Challa’s ascent to the throne of Wakanda. In swift order we are introduced to Okoye, Shuri and the advanced nature of Wakanda, thanks to the infinite supply of vibranium. T’Challa’s day-to-day struggle to rule Wakanda alongside its other clans, keep the nation safe from the outside world and get involved in the world’s affairs is just one of the layers and that’s swiftly peeled back to show that everything on the surface is just that: Surface material for the more pressing concept of just what it means to be black and free.
The introduction of Erik Killmonger is one of the next layers down. Killmonger represents the rest of the black experience: hurt, angry, bitter and wanting something more in life than to be stereotyped and abandoned by the world at large. Killmonger’s story is the result of what happens when we as black people are not uplifted and left at the mercy of an unforgiving system of oppression and what happens when we don’t help our own who are downtrodden and hurting. And though that struggle is simplified here for the general masses, it still speaks to the heart of America’s past and present in terms of race.
On a deeper level, there is the concept of what it means to be a leader and a man. T’Challa’s development from Civil War to Black Panther is so detailed that it feels like we knew nothing about him before Black Panther. And this is the same with the rest of the characters: No one is left out of the development process and every character’s motivations are addressed in painstaking detail. And with that development comes a wealth of standout characters. Shuri, Okoye, W’Kabi and Nakia are wonderful characters that add depth to T’Challa’s life and story. And the true scene-stealing addition is M’Baku, leader of the Jabari tribe. Making a memorable entrance early in the film, M’Baku manages to strike a defiant yet relatable chord in his quest to have his part of the Wakandian pie recognized for its might and resiliency.
And what a pie Wakanda is. From the opening sequence of T’Challa returning home from an important mission to the ending sequence showing the Wakandian sunset, the nation of free and prosperous black folk is a beauty. Everything that we imagine the motherland to be in its natural beauty and wonderment was and is a sight to behold in the fictional nation’s depiction. Wakanda is beautiful, lush and vibrant with an Afropunk futuristic vibe that we have only seen glimpses of in the real world through the pages of magazines.
Black Panther meant a lot of things to a lot of people when it hit the screen. Its sequel is poised to bring the same type of magic as well. With the show put on by director Ryan Coogler in Black Panther, we can only wish that our return to Wakanda is just as fun and important as our first go around. Wakanda forever.
How we grade
Like the comics?: 9.5
Overall grade: 9.8
HOWWEGRADE We score the properties in three categories: Casting (or voice acting in cases of animated), plot and similarities to its source material. Each category receives points out of the maximum of 10 per category and 30 overall. The percentage is the final score.
Needed. Necessary. Now. Black Panther’s release was all of this and more in a time when melanated super heroes on the big screen are far and few in between.
Why was the ensemble tale so necessary? While little children can throw a stone in any direction and hit any number of white superheroes, the number of black superheroes is small. In mainstream comic book movies, at most there are: War Machine, Storm, Cyborg and Falcon. That’s it. That is, until T’Challa and his nation of advanced progress hit the scene.
The presence of the almost entirely black cast was sorely needed. The presence of a capable black director was needed. Seeing positive images of black folks was needed. Why? Because it’s about time that black folks were shown as human, beautiful, smart and good people. It’s long overdue, but the thrill of seeing a black man run his nation and do the right thing when given a choice never gets old.
And why now? Because for the positive side of black superheroes to do well in this climate, it was nothing short of genius and a miracle. Now is the time for the conversations surrounding representation and diversity, and Black Panther is the perfect vehicle. Now is the time for black folks to rise above negative stereotypes and look at how we are perceived, point to Black Panther — a fictional character aside — and say, “We are more than capable of bringing in box office dollars and, most importantly, we are human and here to stay. We have a seat at the table.”