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https://blackgirlnerds.com/best-selling-author-gillian-flynn-talks-adaptation-and-collaboration/
Adaptation is no ordinary task, and it’s rare for novelists to be chosen to adapt their work into TV and film, but award-winning author Gillian Flynn (Gone Girl) breaks the mold. The best-selling author has adapted two of her books into TV and film. BGN had the honor of speaking with Gillian Flynn via Zoom on a pleasant Friday about adaptation and the importance of collaboration.
What was the process of adapting Gone Girl into a feature film?
Gone Girl was a long and intricate book and was a piece of clockwork, so it was hard to figure out which pieces could go. I was writing it for Fox, and at the time, we didn’t have a director attached to it.
The one thing I knew about studios is normally if they hire the author, they take the first draft, and then they immediately fire the author and then hire someone who knows what they’re doing. Which I get. I also knew that you can’t go over 120 pages which is two hours of film. I think I came in right at 120 pages.
The book came out in May of 2012, and I started writing the screenplay around August 2012 while I was on the book tour. As I was talking about Gone Girl on the book tour, I was starting to not be able to see it for what it was. So what I did was listen to the audiobook, and I took notes as I went along, which was able to trigger different ways of listening to it and thinking about it because I wasn’t looking at those words anymore on the page.
I took note of lines that I really liked and certain plot points I thought were really important, then I flagged those in the book in case I wanted to look back at them. Then I made a rule to myself to never look at the book again. I didn’t want to start going page by page and talking myself into moments that didn’t really absolutely need to be in there while still keeping in mind the character development and figuring out how to internalize or externalize Amy’s diary which was one of the biggest and trickiest parts to figure out.
I turned it into Fox, and I felt great about it because it was 120 pages, so spot on. Then one of the first things after [David] Fincher agreed to come on and direct the project, he said, “Hey, let’s put a bunch of stuff back in.” I was like, I love you; you are my hero! He knew the book by heart.
Which project was more challenging to adapt, Gone Girl or Sharp Objects?
Gone Girl has probably been the hardest adaptation for me because the book is over 300 pages, and that’s a lot to try to fit into a movie. Thank God for David Fincher because that movie is almost two hours and forty minutes, but it flies. Thanks to Fincher, we had about six weeks of rehearsal. I was sitting in with actors as they read the script. Ben [Affleck] has this great sense of humor, so I was able to put a little more bounce, sarcasm, and humor into Nick’s character. Rosamund [Pike] is incredibly cerebral and brilliant, a classically trained cellist. I mean, she has so many pieces to her. So I thought, “Okay, this is going to work.” And I can add even more because she could shoulder it.
What was collaborating with Steve McQueen to write the film Widows like?
I just love that film. It felt like Chicago; it was a majority Black cast, everyone from Brian Tyree to Viola Davis, and I was just I was very proud of making a movie that felt like Chicago.
Steve McQueen was straight off of 12 Years a Slave, and I just thought he had such balls to be like, “I’m just gonna make a heist film that feels gritty and old school.” It was very cool to be able to collaborate with him. He co-wrote with me, and we were able to have these open conversations about gender and race. He’s such an easy person to collaborate with, and we had such lovely, incredibly open communication.
It wasn’t like he said, “I’m gonna write all the Black male characters. You write the white female characters.” We wrote people as they are, the way people felt to us, and, then, exchanged certain thoughts and tweaked each other’s stuff. I think the movie came out so much better for that. Widows is one of my projects that I feel is a little underknown. I just love it when people have discovered it now, flipping around on HBO or whatever or trying to find something to stream.
How did you become involved with that project?
He [McQueen] got in touch with me. We had a great dinner in New York. We were still filming Sharp Objects at the time I was writing it, so I was very surprised half the time I was down in Georgia law. But we had a lot of great phone conversations. He would write in my documents and I would wake up in the morning with it all there because he had been writing because of the time difference. And you know, we would read each other’s stuff, and so it felt like this great little kind of Ferris wheel of writing.
When writing stories with multiracial casts, do you think you’ll collaborate with more Black writers in the future?
I would love to with the right collaborators. It’s only helpful with the right collaborator. If you’re both on the same page, if you’re both open to each other’s helpful criticism and helpful advice and thoughtful messaging, it’s only gonna get better. When you’ve got a multiracial cast, which will hopefully happen more, it’s important to include multiracial writers because that’s the world, and it should feel that way. It shouldn’t be just white men writing.
I hope more Black women and white women will write together as well. There’s so much storytelling that hasn’t been told in that framework.
One of my favorite books this year was Jackal by Erin E. Adams — a Haitian immigrant writing about a missing Black girl as opposed to missing white girl syndrome. The main character’s best friend is a white woman, and they’re dealing with the racial issues of this town as they try to solve this mystery. I know that it’s been optioned, and I hope that in the writer’s room there’s collaboration.
What right now is bringing you the most joy?
I’m loving the luxury of being able to write without a studio deadline. I am working on a screenplay, but I’m just doing it for myself. I mean, ultimately, I’ll try to sell it, but I love not having that pressure. It feels really in the groove to be back to writing without pressure.
Adaptation is no ordinary task, and it’s rare for novelists to be chosen to adapt their work into TV and film, but award-winning author Gillian Flynn (Gone Girl) breaks the mold. The best-selling author has adapted two of her books into TV and film. BGN had the honor of speaking with Gillian Flynn via Zoom on a pleasant Friday about adaptation and the importance of collaboration.
What was the process of adapting Gone Girl into a feature film?
Gone Girl was a long and intricate book and was a piece of clockwork, so it was hard to figure out which pieces could go. I was writing it for Fox, and at the time, we didn’t have a director attached to it.
The one thing I knew about studios is normally if they hire the author, they take the first draft, and then they immediately fire the author and then hire someone who knows what they’re doing. Which I get. I also knew that you can’t go over 120 pages which is two hours of film. I think I came in right at 120 pages.
The book came out in May of 2012, and I started writing the screenplay around August 2012 while I was on the book tour. As I was talking about Gone Girl on the book tour, I was starting to not be able to see it for what it was. So what I did was listen to the audiobook, and I took notes as I went along, which was able to trigger different ways of listening to it and thinking about it because I wasn’t looking at those words anymore on the page.
I took note of lines that I really liked and certain plot points I thought were really important, then I flagged those in the book in case I wanted to look back at them. Then I made a rule to myself to never look at the book again. I didn’t want to start going page by page and talking myself into moments that didn’t really absolutely need to be in there while still keeping in mind the character development and figuring out how to internalize or externalize Amy’s diary which was one of the biggest and trickiest parts to figure out.
I turned it into Fox, and I felt great about it because it was 120 pages, so spot on. Then one of the first things after [David] Fincher agreed to come on and direct the project, he said, “Hey, let’s put a bunch of stuff back in.” I was like, I love you; you are my hero! He knew the book by heart.
Which project was more challenging to adapt, Gone Girl or Sharp Objects?
Gone Girl has probably been the hardest adaptation for me because the book is over 300 pages, and that’s a lot to try to fit into a movie. Thank God for David Fincher because that movie is almost two hours and forty minutes, but it flies. Thanks to Fincher, we had about six weeks of rehearsal. I was sitting in with actors as they read the script. Ben [Affleck] has this great sense of humor, so I was able to put a little more bounce, sarcasm, and humor into Nick’s character. Rosamund [Pike] is incredibly cerebral and brilliant, a classically trained cellist. I mean, she has so many pieces to her. So I thought, “Okay, this is going to work.” And I can add even more because she could shoulder it.
What was collaborating with Steve McQueen to write the film Widows like?
I just love that film. It felt like Chicago; it was a majority Black cast, everyone from Brian Tyree to Viola Davis, and I was just I was very proud of making a movie that felt like Chicago.
Steve McQueen was straight off of 12 Years a Slave, and I just thought he had such balls to be like, “I’m just gonna make a heist film that feels gritty and old school.” It was very cool to be able to collaborate with him. He co-wrote with me, and we were able to have these open conversations about gender and race. He’s such an easy person to collaborate with, and we had such lovely, incredibly open communication.
It wasn’t like he said, “I’m gonna write all the Black male characters. You write the white female characters.” We wrote people as they are, the way people felt to us, and, then, exchanged certain thoughts and tweaked each other’s stuff. I think the movie came out so much better for that. Widows is one of my projects that I feel is a little underknown. I just love it when people have discovered it now, flipping around on HBO or whatever or trying to find something to stream.
How did you become involved with that project?
He [McQueen] got in touch with me. We had a great dinner in New York. We were still filming Sharp Objects at the time I was writing it, so I was very surprised half the time I was down in Georgia law. But we had a lot of great phone conversations. He would write in my documents and I would wake up in the morning with it all there because he had been writing because of the time difference. And you know, we would read each other’s stuff, and so it felt like this great little kind of Ferris wheel of writing.
When writing stories with multiracial casts, do you think you’ll collaborate with more Black writers in the future?
I would love to with the right collaborators. It’s only helpful with the right collaborator. If you’re both on the same page, if you’re both open to each other’s helpful criticism and helpful advice and thoughtful messaging, it’s only gonna get better. When you’ve got a multiracial cast, which will hopefully happen more, it’s important to include multiracial writers because that’s the world, and it should feel that way. It shouldn’t be just white men writing.
I hope more Black women and white women will write together as well. There’s so much storytelling that hasn’t been told in that framework.
One of my favorite books this year was Jackal by Erin E. Adams — a Haitian immigrant writing about a missing Black girl as opposed to missing white girl syndrome. The main character’s best friend is a white woman, and they’re dealing with the racial issues of this town as they try to solve this mystery. I know that it’s been optioned, and I hope that in the writer’s room there’s collaboration.
What right now is bringing you the most joy?
I’m loving the luxury of being able to write without a studio deadline. I am working on a screenplay, but I’m just doing it for myself. I mean, ultimately, I’ll try to sell it, but I love not having that pressure. It feels really in the groove to be back to writing without pressure.
Come on, Barbie, let’s go party. Whether we want it to or not, that iconic Aqua song is pulsing through our veins as we anticipate the upcoming big-screen Barbie movie. She is no stranger to the screen, though. The iconic Mattel doll is, after all, the star of a whole animated cinematic universe. But now she’s getting the Hollywood treatment with a live-action film. Margot Robbie stars as the titular blonde girlboss, and she has a whole lot of star power with her—both in front of and behind the camera. Here’s everything we know about Barbie.
Title
Warner Bros. and Mattel are keeping it simple with this one, calling the film Barbie.
Barbie‘s Plot
So far, Warner Bros. and Mattel are keeping on the down low about Barbie‘s plot. But given the castings we know the ensemble film will include at least a few familiar figures from the Mattel world. In addition to the titular character, her on-again/off-again boyfriend Ken is a major figure. Plus, this is a film from Greta Gerwig (and Noah Baumbach). So it wouldn’t be too surprising if they throw in a couple surprises. Will we see a wistful or melancholy Barbie, trying to move on from her himbo love? Or will we follow Barbie on a coming of age journey as she figures out what her dream job really is? With Gerwig at the helm and this stacked cast, we’re game for just about anything.
Behind the Scenes
Greta Gerwig will write and direct the film, with real-life partner Noah Baumbach co-writing the script. Robbie and Tom Ackerley are also producing the film through their LuckyChap Entertainment production company. Mattel’s Robbie Brenner and David Heyman also produce.
Barbie‘s Cast
As stated above, Margot Robbie, who is also producing the film, is Barbie. Ryan Gosling is playing Ken. Joining them are Simu Liu, America Ferrera, Alexandra Shipp, Kingsley Ben-Adir, Rhea Perlman, Ncuti Gatwa, Emerald Fennell, Sharon Rooney, Scott Evans, Ana Cruz Kayne, Connor Swindells, Ritu Arya, Jamie Demetriou, Kate McKinnon, Ariana Greenblatt, Emma Mackey, Issa Rae, Michael Cera, and Hari Nef. It is quite a cast, to say the least!
In addition, we now know that Will Ferrell will play “the CEO of Mattel.” According to the actor, the role is “that guy who’s just insensitive but weird.”
Barbie’s Release Date
Barbie releases on July 21, 2023.
The post Everything We Know About the BARBIE Movie appeared first on Nerdist.
Andor creator and showrunner Tony Gilroy described his series’ first season as “the education” of Cassian. But the season one finale offered an important lesson to people in every galaxy. Maarva’s rousing funeral speech and Nemik’s moving manifesto both got at the heart of why—no matter how impossible the task might seem—it is never too late to fight tyranny. Because the time to stand up to fascism, in any way you can, is always right now.
There will be times when the struggle seems impossible. I know this already. Alone, unsure, dwarfed by the scale of the enemy. Remember this: freedom is a pure idea. It occurs spontaneously and without instruction. Random acts of insurrection are occurring constantly throughout the galaxy. There are whole armies, battalions that have no idea that they’ve already enlisted in the cause.
Karis Nemik
One day Cassian Andor will help bring down the Empire. The people he’ll free won’t remember him as one of the galaxy far, far away’s greatest heroes, though. Those accolades will go to famous figures like Luke Skywalker, Leia Organa, and Mon Mothma, as names like Jyn Erso and Ruescott Melshi fade away in the scorched sands of Scarif.
But Andor’s incredible season one finale highlighted—maybe better than any story in Star Wars history—what it truly takes to defeat an evil Empire. Or, more specifically, it highlighted “who” it takes. Successful rebellions require more than legendary Jedi and pilots. It takes regular people everywhere finding the will and courage to “wake up,” because fascism will never go away on its own anymore than a single individual will ever defeat it. And both of those things are true no matter how much you wish they weren’t.
As Maarva said, you can only ignore and hide from tyranny for so long. Eventually the “disease” of oppression will come for you and your people specifically because you have chosen to remain in darkness. Fascism “thrives in darkness.” It desperately needs people to close their eyes to the suffering of others.
Remember that the frontier of the Rebellion is everywhere. And even the smallest act of insurrection pushes our lines forward. And then remember this: The Imperial need for control is so desperate because it is so unnatural. Tyranny requires constant effort. It breaks, it leaks. Authority is brittle. Oppression is the mask of fear. Remember that.
Maarva Andor
While Maarva entertained the possibility that Ferrix might have waited too long to oppose the Empire, Nemik knew there’s no such thing as too late when it comes to fighting fascists. His manifesto, so full of hope yet so clear-eyed and unsentimental, understood that oppression is inherently wrong and freedom is inherently right. Unlike tyranny, which requires “constant effort,” people yearn to be free. Freedom does not need stormtroopers and Death Stars to maintain its existence. It exists in the hearts of people everywhere, and manifests in unexpected ways without thought or planning. That’s why tyranny is so fragile and temporary while its opposite can never be defeated. It can only fall asleep.
That doesn’t mean fighting fascism is easy. Nemik recognized just how hard it can be, especially to an individual who can’t imagine a path to a victory that seems so unreachable. Standing up for yourself and others can—and will—sometimes feel all but fruitless. And the bigger the enemy, and the bigger the challenge, the easier it is to lose hope. But Nemik fundamentally understood something we all should about why we must fight back. It’s an idea that is at the heart of Andor, the Rebellion, Star Wars, and our own battle with fascism.
Standing up for what’s right iis not about a single blow or a single hero. It’s about doing what we can when we can, so that one day all those little acts lost to time make it possible for freedom to wash over the galaxy.
And know this, the day will come when all these skirmishes and battles, these moments of defiance will have flooded the banks of the Empire’s authority, and then there will be one too many. One single thing will break the siege. Remember this: try.
Karis Nemik
In her final speech, Maarva said she “always wanted to be lifted” because she was “always waiting to be inspired.” That was the exact gift she left Ferrix, as she helped her community open its eyes to the evil that threatens them all. It’s also the gift Andor gave to viewers in its stunning season one finale. Every generation learns how fascism will spread if we let it. But the show reminded us of an even more important lesson: even when it seems fascists have won and darkness has taken over, we must remember that it’s never too late to wake up. No act in the name of freedom is ever insignificant or hopeless.
That even includes moving words of inspiration—shared with one person, an entire community, or a television audience—that can start a ripple that ends with the crashing of an Empire. Because tyranny will never be strong enough to oppose even the smallest acts of rebellion. You just need to wake up and try.
Mikey Walsh is a staff writer at Nerdist. You can follow him on Twitter at @burgermike. And also anywhere someone is ranking the Targaryen kings.
The post Maarva and Nemik Delivered ANDOR’s Greatest Lesson on Fighting Fascists appeared first on Nerdist.
The Culture is Calling
It feels like Black Panther films always drop in the midst of turmoil in this country. Or, this country is always in turmoil, and Black Panther films drop and highlight said turmoil. Mind you, the state of the world and a mega-budget movie sourced from comic books shouldn’t be this closely tied – but they are. The difficulty in reviewing Black Panther Wakanda Forever is that there isn’t just a film to talk about. Behind and all throughout the project are the hopes and dreams of people longing to see themselves in a future, any future. The current state of the world at large (and of Black, Brown, and Indigenous people) is why the Black Panther films, in particular, Wakanda Forever, are a cultural event. A fantasy set this close to reality transcends the medium and embodies the politics of the time.
Invisible Crown
Deeper still, the passing of Chadwick Boseman as the iconic and titular character echoes in many ways the many losses in the Black arts community. If you know about his approach to the craft, then you know what he meant to the culture. Symbolically, Chadwick and the role of Black Panther gave Black audiences a powerful vision of potential Black unity and excellence. Wakanda Forever mourns the loss of an avatar of artistic integrity who was intentionally aligned with their civic duty. It’s so much more than a movie. The core cast and crew were mourning during and through production and the film invites audiences to mourn with them. So, it feels strange to review this movie. But, in light of all that, we’re gonna sit here and review this movie.
The Review
Black Panther Wakanda Forever is a great movie. It has all the pieces needed to be great and only suffers from the unknown potential of what it was supposed to be. From costuming to cinematography to sound design and soundtrack, there were no technical flaws in this movie. That said, it still didn’t hit like the first one. However, the performances were incredibly airtight. Special shoutout to Lupita N’yongo who got to flex her whole full self as an actual Mexican citizen. She busted out the Spanish and the Mayan for this one. Although there were deep and resounding spaces left by Chadwick’s absence, the supporting cast really stepped up and delivered. The clever reimagining of Atlantis as Talokan is no small thing and the message of it speaks beyond the film and lands in the hands of Mayan and Mestizo youth who have their own “Wakanda Forever” in the phrase and gesture, “Lili’Ik Talokan” (Talokan Rises); which actors Tenoch Huerta, Alex Livinalli and Mabel Cadena brought to the production alongside their cultural advisors and language coach.
What It Is, What It Means
Yes, Wakanda Forever is a Marvel Studios movie sourced from comic books. Yes, there are set pieces and action sequences and green screens and blue screens – an entire spectacle. It’s part fantasy, part sci-fi, alongside being a connected piece of the massive Marvel Cinematic Universe. But at its core, this movie is about indigenous futurism. Not to be confused with Afrofuturism, which imagines Black people in the future. Marvel uses Wakanda to imagine the trajectory of an Africa untouched by colonialism. Talokan, to that same effect, is not Wakanda. It’s an imagined nation that was forced into migration and hiding from the horrors of colonization and thriving in solitude. These are not romantic constructs; they are tragic ones. It’s tragic that we can only imagine indigenous futurism like this. Wakanda Forever uses that tragedy to great measure, bringing the actual indigeneity of Africa and the Yucatan together for the first time ever.
Now that we’ve gotten through the weeds of the intro, let’s get to the movie: SPOILERS ALL UP IN THIS FROM HERE ON!
Let’s Get Into It
Wakanda Forever picks up right where we need it to, dealing with the impending death of T’Challa. (There is very little filler in this movie, which is wild considering the bloated nature of big-budget flicks.) This movie has two modes, ‘foot on your neck high stakes’ and ‘you finna cry’. Ryan Coogler ain’t come here to play no games with nobody. There is so much clarity in his vision for this film, and it comes across despite the most difficult rewrite in the history of cinema. In my opinion, being able to see the things that needed to change made me appreciate what I was seeing onscreen.
They Want Smoke, But Not
If you read the comics, you know Wakanda and Atlantis (Talokan) got beef. Real on sight type stuff. If Namor and T’Challa made music, they’d be putting out disrespectful drill tracks…daily! If they were on pre-apartheid Twitter, it’d be flaming clapbacks until the server crashed. Wakanda Forever brings that heated conflict to the screen with a scale and scope to make you care deeply. That said, this is not an action movie. Not even close. In DCs’ Black Adam, and in Marvel’s Winter Soldier each plot point was punctuated by a fight. In particular, Black Adam had it that most of the characters and their progression were also introduced in fights. Wakanda Forever is built entirely on relationships, even the conflicts are based on relationships!
Running on Relationships
Okoye and Attuma as the generals and great warriors of their people, putting everything on the line for their nations in a time of upheaval and change. When they fight on that bridge, you have no idea who is going to win. The scene itself feeds on this anxiety, it’s so tense that you forget to breathe for a moment.
‘Queen Ramonda vs. The World’ could easily be an alternate title for this movie. Watching Wakanda rise to prominence on the world stage after going public set us up for colonizing superpowers committing trifling acts of espionage against the queen. The Dora Milaje act on the queen’s behalf, and they cut a swath through the French black ops like a vibranium knife through butter. Every time Angela Bassett was onscreen, she was a force, and when she moved, Wakanda moved in lockstep. The grieving monarch at war with the world but at peace with herself.
All the performances are stellar, and no one falls short.
The relationship between Shuri and Namor is one for the MCU hall of fame! Tenoch Huerta Mejia might look like a newcomer to US audiences, but he’s a goated actor in Mexico and Spain and takes Namor by storm. In the comics, Namor is a habitual line stepper and his introduction to the MCU is in line with that character. His intensity brings Namor to the big screen in a real way. To that, Letitia Wright absolutely shines as Shuri in Wakanda Forever. The full range of the plucky little sister of the Black Panther, who has to become the scientist, the warrior, the ruler, and the Panther herself? Wright handled the whole damn thing quite well.
Using the relationship between characters as the backbone of the plot sounds simple, but it requires so much skill with a movie this size. To use that dynamic to highlight what it means to hold an alliance in the face of historical oppression, even more skillful.
Wrath in a Speedo
It makes so much sense that it would be a movie like Black Panther to bring the Indigenous Mexican mythology and culture to the big screen for mainstream consumption. Namor is one of the oldest Marvel characters, and I was so hyped to see them at all, but for Ryan Coogler to bring this lens to reimagine this character and their nation is EVERYTHING. Wakanda is a composite of African ideologies and cultures stitched together in the absence of Black American connection to a motherland. And it’s that appreciation for a land and a culture to call our own, separate from our colonizers, that allowed room for the creative team of Wakanda Forever to give us this vision of Atlantis as Talokan. The culture displayed in Talokan is fully realized, and it can be tied to a land and a people directly. Pride like that can only be personified by a prideful ruler. I give you, the glory and regal brilliance of Tenoch Huerta Mejia’s Namor!
He was really about his people! Like Namor really set it on anyone he even remotely thought would think about causing Talokan harm. My guy set it on the most powerful nation on Earth and started by stealing up on Ramonda and Shuri! Popped out the water dripping like, ‘Y’all need to tighten this up over here.’ His threat game was immaculate, who the hell else would claim they had ‘more soldiers than this land has blades of grass’? And y’all, his hands work! Boy caught a helicopter with his mitts and swung that thing like a bat hitting a softball. Buddy juked Wakandan aircraft with winged ankles! Had them scrambling like Barry Sanders doing punt return. Mans caved M’baku’s whole chest cavity with a jab!?!?
Even outside of the braggadocio of Namor, Tenoch Huerta really balances the gravitas of a ruler with a nation on his soldiers with the anti-hero who gives no F’s. Namor holds the same standout place in this movie that Winston Duke’s M’baku held in the first Black Panther. Definitely one the greatest character intros in the MCU, hands down.
What I Can’t Look Past
When the entire cast and crew feel a call to create a film that supersedes the medium, even the mistakes and shortcomings are easy to glaze over. But they do exist.
On the surface, it’s clear that Shuri was supposed to be in a secondary plot arc to find Riri Williams and introduce Ironheart to the greater MCU. It comes off as very rushed and a little forced, but within the scope of understanding given the circumstances. With Armor Wars becoming a film instead of a Disney+ series and Dominique Thorne being a kickass actor, it was dope to see Riri, but she could’ve been given a better debut. On another level, it was fly to see Riri rocking rare Jordans, whipping a muscle car, putting MIT tech bros in their place, and flying Ironheart with fresh cornrows. The levels of Blackness woven into this woman will flourish in a show or movie where they are the center of attention.
Putting no shade on Tenoch Huerta Mejia in the slightest, but the direction of Namor was a tiny bit off for me. While Coogler and the creative team did the damn thing capturing the height of Namor’s nobility and honor, they left out the pettiness that drives this man to new depths of despicable deeds. I need Namor to do most extra thing on Earth and not show the remorse he might be feeling. Mind you, this is my comic nerd coming out to say, ‘hey, what’s up, hello’.
My Nitpicks
So, the very few plot issues I had aren’t that big of a deal in the scope of things but…What world do we live in where the most advanced civilization on the planet doesn’t know about the myths of other indigenous cultures? The River Tribe elder (played by Isaach de Bankolé) gonna act like he ain’t never heard of Kukulkan. Like fam, no Wakandan kids play Smite?!? Stop it. Also, I’m supposed to believe that these two vibranium having countries weren’t going to be allies off rip? Ain’t not one strategist for either nation wouldn’t have been like, “Listen, we can fight later, but for now we got each other’s back in these streets like Double Dragons.” Especially when the unseasoned nations were coming for their resources like Napoleon in Egypt. Nope. Don’t believe it. Lastly, Killmonger showing up on Shuri’s trip to the Djalia almost took me out of the movie completely. It didn’t feel right for her and led me to think about whether it was in the original script for T’Challa to see him there.
Wakanda, Forever
There are some other more opinionated things to nitpick, but all in all this movie is a must-see. Although not for the same reasons as before. With this final entry into phase four of the MCU, it feels like just that. A send-off for Chadwick’s T’Challa and for the je ne sais quoi that made Black Panther feel like a Black American movie that just so happened to be in the Marvel Universe. It’s different now and we need to make peace with that. Yes, it’s helmed by a Black Brit. Yes, it’s supporting the introduction of a Central American Indigenous peoples and mythologies to the MCU. Yes, it is being held up by a primarily female-led cast while being directed by a Black man from Oakland. All of these things are true and awesome. Wakanda Forever belongs to more of us than it did before. This film, leading into phase five, makes it as symbolic as it is impactful. It expands the MCU’s diversity through sheer authenticity. Go see that.
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The post The Cultural Event of 2022: ‘Wakanda Forever’ Review appeared first on Black Nerd Problems.