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Click here to buy this shirt: Fuck You Bob logo Shirt, hoodie, v-neck tee
As the mourning queen and princess, respectively, Angela Bassett and Wright are appropriately formidable (Bassett’s arms alone make you wish she had her own action franchise), but their talent really shines each time they break from protocol to defy the stereotype of the strong Black woman. Bassett has played her share of defiant heroines—Tina Turner, Betty Shabazz, Rosa Parks—and she channels that energy as Queen Ramonda; each opponent who tests her mettle lives to regret it. On the floor of the United Nations, Ramonda delivers a rousing speech on her country’s undiminished power after the death of their king, illustrating her point by trotting out the attackers who infiltrated a Wakandan research facility and having them kneel before her. Ramonda projects austerity in public, but in the company of her family and trusted advisors, she lets the facade slip and allows herself to grieve. Society tends to idealize Black female resilience, especially on screen, but the impression here is more nuanced, human. The queen encourages her daughter to burn her funerary robes as an act of catharsis; Okoye breaks down over her failure to live up to the standards of her position as general; and former spy Nakia (Lupita Nyong’o) states that the stiff-upper-lip attitude of courtly life was so untenable, she had to start her life over.
Still, there is plenty at stake for the characters. Their abilities may be otherworldly or linked to pseudoscience, but each is acutely aware of their impermanence. Huerta plays the 500-year-old Nemor with the world-weary menace of a vampire that’s lost his taste for blood. The joke-y tone of other Marvel projects (She-Hulk, Guardians of the Galaxy, anything where Robert Downey Jr. shows up) only creeps in occasionally, but it’s welcome—particularly when the jokes are delivered by RiRi Williams (Dominique Thorne), an M.I.T. student whose inventions set the plot in motion, or Julia Louis-Dreyfus, who appears as a gleefully untrustworthy U.S. government official. Chadwick Boseman’s untimely passing accounts for the sobriety of Wakanda Forever’s tone. The actor’s self-possessed performance as T’Challa grounded Black Panther’s Afro-futurist reverie and amplified its optimism. Instead of recasting the role, Coogler gives Boseman a kingly sendoff with a funerary sequence filled with dancing. An extended celebration of life, it makes for one of the film’s most moving sequences.
The issues are heavy, but in line with the world Coogler and his collaborators have created. Most comic adaptations avoid divisive subjects like politics or race relations, but Black Panther became a cultural touchstone because of its willingness to address reality. Depicting an African continent unscarred by colonialism and led by a protagonist aware of social inequality, it was unlike any Marvel project that preceded it. Celebrating Blackness and Pan-Africanism while acknowledging racism, generational trauma, and the cultural tensions between Africans and African-Americans, it held the promise of a new kind of superhero saga. The internet rioted when Martin Scorsese dismissed Marvel’s movies, comparing them to theme parks and lamenting the lack of real stakes. The director’s assessment was overly harsh, but it contains a grain of truth: Superhero stories allow for narratives that reject logic, physics, and history in service of spectacle. Yet films like Coogler’s strive for a balance between craft and the diversions of CGI explosions and choreographed fights. Wakanda Forever is less successful than its predecessor when it comes to artistry—the intricacy of production designer Hannah Beach’s sets and Ruth E. Carter’s costumes are still there, but the action moves so quickly that one has little time to appreciate the details. That’s a pity given the richness of new locations like the submerged cities of Talokan, with its Mesoamerican-inspired architecture. Tenoch Huerta Mejía as Namor in Black Panther: Wakanda Forever.
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