Marvel's Black Panther Has Been Fighting White Supremacists For Decades and He's Not About To Stop. Black Panther & The Crew became one of Marvel’s most important comics the moment the series first went to print.

But given the recent public displays of hatred and terrorism here in the US from self- identified white supremacists, this week’s issue of the series is a particularly timely piece of required reading. Much like Christopher Priest’s original Crew from 2. Ta- Nehisi Coates and Yona Harvey’s Black Panther & The Crew has been something of a slow burn compared to most other comic books. While the series is about the titular Crew investigating the death of a black activist being held in police custody, there is also a larger story at work about the history of black heroes (both powered and normal) fighting to protect their communities from those who would see them crumble. As T’Challa, Misty Knight, Luke Cage, Storm, and Manifold have inched closer to figuring out just how activist Ezra Miller died, Black Panther & The Crew has also spent a fair amount of time fleshing out the connections each character had to him while he was alive, and how Harlem is the thing that binds them all together. Though most of the series is set in the present, BP& TC also features a number of flashbacks to Ezra’s days as a younger revolutionary, when he himself teamed up with other black capes to root out crime and corruption in the city.

Over the years he would come to understand that the process of trying to resist and dismantle fascistic power structures sometimes leads to moments where one must take an honest look at their allies and question their motives. Together, Ezra and his crew did good work to oust organized crime as part of Harlem’s Crusade. But in time, as they came into prominence and a newfound kind of power, his teammates would come to see his morality as obstacle standing in the way. In losing his chosen family, Ezra was forced to accept that people he thought he knew were, perhaps, not on the level with him. But at the same time, he remained keenly aware of the fact that, in spite of their ultimate betrayal, he’d been stronger as a force for justice and social change when he had a crew to back him up.

This is an idea that he would later impress upon Manifold, an Australian mutant with the ability to generate circular portals through space and time. Manifold, who’s been an Avenger, would eventually find a new home for himself in Harlem.

Like Ezra, he found himself fighting against people who embody oppressive social hierarchies and finding invaluable strength in the support of his team. Watch Full Live By Night (2016) 2002. In this series, Marvel’s Harlem has been converted into a literal police state with a curfew in anticipation of riots set off by Ezra’s death. Rather than enforcing the law with human police offers, mechanized soldiers are deployed throughout the borough that indiscriminately use excessive violence to keep the population in check. Black Panther & The Crew #5 is primarily about how one night, while keeping tabs on the neighborhood, Manifold witnesses a squad of Americops violently attacking two young boys who happened to be out after curfew. In a scene that bears a painful and stunning resemblance to the real- world attacks by police on black children, the Americops viciously attack the boys until Manifold intervenes and whisks them off to safety. Manifold himself is only able to escape the Americops when the rest of his crew shows up and blasts them out of the sky, doubling down on the idea that a person’s strength comes from their depths of their roots. There’s an immediately recognizable call and response within Black Panther & The Crew’s asynchronous story structure, but this issue in particular brings to attention a bigger narrative concerning the Black Panther that’s worth taking note of.

When Marvel writer and proofreader Don Mc. Gregor first came onto the publisher’s Jungle Action, a series set primarily in Africa, he noted that a majority of its stories featured white heroes. Mc. Gregor was responsible for turning the series into a vehicle for the Black Panther, and in issue #1. Mc. Gregor made a bold statement by having the African hero do battle with the American Ku Klux Klan. In Panther vs. The Klan, the Black Panther journeys to Georgia to investigate the mysterious death of Angela Lynne. The Black Panther has some connection to Angela, but more importantly, he commits to uncovering the details of her death as a matter of moral principle given the questionable circumstances.

Though there are obvious differences between the two, there is an important through- line shared between T’Challa’s run- in with the Klan in the ’7. Crew’s fight against the Americops today. In both clashes, we see black heroes standing up against avatars of structural oppression who terrorize black communities. A group of racist white men wearing sheets are not the same as a fleet of deadly killer robot cops, and yet they are not entirely unrelated from one another either. Both are manifestations of institutional terror that have plagued and oppressed marginalized people. Both have been successfully rebutted through activism deeply rooted in the communities the marginalized people come from—and it’s powerful to see them being fought in comics as well.

Nori Jun 07 2017 1:33 am Moon geun young, even your name is so pretty as you :) please back soon in a drama I'm trully waiting for your comeback. The Uninvited: Awakening / Skeleton Key Experience 151 W 116th Street New York, NY. The Uninvited: The Awakening is an immersive experience in the style of Sleep No More. The central premise behind the new Adam Sandler comedy "Pixels" is so undeniably promising on its most basic level that as I walked into the screening, I felt a. The leading information resource for the entertainment industry. Find industry contacts & talent representation. Manage your photos, credits, & more.

The 2. 5 Best Sci- Fi Films Of The 2. Century So Far. As kids, we looked ahead to the imminent 2. The robot butler and trips to the drug store in hovercars version hasn’t yet arrived, but the first 1.

Sci- fi is almost as old as cinema itself —1. Georges M. Many so- called sci- fi blockbusters were really action movies with some fantastical trappings, rather than thoughtful, provocative examinations of the world we live in through speculation about worlds we might live in. That’s still true to an extent, but the last decade- and- a- half have seen a flourishing of smaller- scale, ingenious sci- fi pictures, as well as some dazzling bigger- scale examples with more ideas per se than explosions and laser fire. And with “Ex Machina” proving to be surprise hit this spring, the sci- fi idiom is the next in our Best Films Of The 2. Century So Far series (read Horror, Animated Films, and Music Documentaries). We set a few rules —no superhero movies (which is a genre unto itself these days), no films with sci- fi segments without the whole film being in the genre (see “Cloud Atlas” and “The Fountain”) and a few films that don’t quite feel like they are true science fiction. Otherwise, anything went, and the 2.

Take a look below and let us know your favorites in the comments. The film was the best use of Cruise’s star persona in aeons (serving almost as a metaphor for the redemption of his own stardom), but the secret weapon, aside from a cunning evocation of video game tropes, the best alien warfare since “Starship Troopers,” and crystal clear direction from a back- on- form Liman, was Emily Blunt as the “full metal bitch,” making a strong case that she deserves to be the biggest star in the world. The film didn’t find the theatrical audience it deserved at home, but more and more people are catching on over time. Melding John Hughews David Lynch, and Albert Einstein into an ’8. Jake Gyllenhaal, in a star- making role) who receives visits from a sinister rabbit who may be trying to convince him to travel through time, it’s rich, funny, swooningly romantic stuff with a very fine cast (Patrick Swayze and Katharine Ross got well- deserved comeback roles, there’s a great cameo from producer Drew Barrymore, and keep an eye out for a young Seth Rogen as a bully), and a surprisingly melancholy tone. Kelly, just 2. 6 when the film was released, handles things with real flair (and a great ear for song selection), and while the Director’s Cut only makes the mythology more impenetrable, it’s a fascinating sci- fi puzzle- box on top of everything else. Lean, bloody, and with terrific action sequences (Quentin Tarantino called it his favorite film of the previous two decades), it’s also more than a mere genre piece: the students, and even their teacher (a smartly- cast Takeshi Kitano) are sensitively and three- dimensionally drawn, and its power as metaphor, both examining the power of violence and the demonization of youth, elevates it far above the tales of Katniss & co.

Times entertainment news from Hollywood including event coverage, celebrity gossip and deals. View photo galleries, read TV and movie reviews and more. I n early 2015, concerns persisted that the mainstream commercial film industry is no longer as dynamic or creative as it used to be. Not only was there a shortage of. The B-Movie trope as used in popular culture. The Great Depression hit Hollywood almost as hard as it hit other industries; a third of the audience.

Indeed, it cut a little too close to the bone for many, and landing in the aftermath of Columbine, it wasn’t released in the U. S. Some claimed the picture his worst (our review wasn’t very charitable), some thought it was a vision from the heavens, and as usual, when the dust has settled, more mannered judgments have taken root (more of a consensus Playlist opinion forms here).

So yes, Nolan shoots for the fences in “Interstellar” and arguably does not connect in the same home run fashion he has for so many pictures in a row now. The dialogue can be really on the nose, while the ending some see as jumping the shark. None of us will make too strong of a case against any of those points. That said, Nolan’s film is still a dazzling, ambitious vision of love, time, space, and some deeper, perhaps fuzzier elements of the universe.

It’s the place where the heart and quantum physics meet. While that might admittedly be a bit of an awkward intersection, its love- letter sincerity to humanity inspired by Nolan’s own children is at least visually awe- inspiring and occasionally breathtaking. Admittedly clunky in spots, it’s a film that will very likely only grow in estimation over time.

But the film was a quiet, unexpectedly moving triumph, and was then exceeded on every front by Matt Reeves’ follow- up, one of the few sequels that trumps the original. Picking up after the ape- pocalypse, as Caesar (Andy Serkis) is forced to confront humanity again, as well as a new threat closer to home, the movie, even more than its predecessor, takes full advantage of the stunning performance- capture technology, which reaches something of an apex here. Beyond that, it’s also simply a remarkably well- told story: a rare summer blockbuster in which you actively root against violence taking place, with a borderline Shakespearean arc for its non- human hero, and Reeves’ stylish- but- unshowy filmmaking chops steering things beautifully.