‘Black Panther’ costume designer Ruth Carter talks dreaming big and her journey into film The design vet takes time out of her busy film career to encourage parents and children

ORLANDO, Florida — Moviegoers are fascinated by the fictional African nation of Wakanda, home to Marvel Comics’ superhero Black Panther. Just a little over a month ago, the comic book phenom burst onto the big screen, with Black Panther raking in more than $1 billion and is now inspiring a deeper dive into the film, including a look at the costuming of actors Chadwick Boseman, Angela Bassett and Lupita Nyong’o and others. Not that close attention is new to Ruth Carter, the woman behind the looks.

When the Oscar-nominated costume designer arrived on the campus of Hampton University in 1982, she did not realize she’d depart with a bachelor’s degree in theater arts. Starting out as an education major and switching gears as many students do, she now boasts a career of more than 40 films, including Amistad, Malcolm X, Do The Right Thing, School Daze and plethora of others.

“I started out in education,” she said. “I come from a legacy of teachers and I wanted to be a special ed teacher and then halfway through college I changed my major to theater arts. And my mom said, ‘Oh, you’re going to do the news.’ And I thought no, I’m going to do costumes. When I came out and I was doing backstage work in the theaters, my mom said, ‘You went four years to college to do laundry,’ and I said, ‘Yeah, I’m still on my path, mom.’ ”

Carter was as an intern at the Santa Fe Opera in Springfield, Massachusetts, until moving to Los Angeles in 1986 and meeting director Spike Lee.

“Once I got to Los Angeles I met Spike Lee and he was telling me ways that I could get a career and get experience in film by going to some of the big colleges in Los Angeles like USC and UCLA and signing up for film thesis projects,” Carter said. “So that’s kind of what I did … She’s Gotta Have It, when I saw that, I was like, ‘what, it’s one girl walking through Brooklyn, who can’t do that.’ It’s a medium I had to learn. It’s a huge medium …”

Carter’s advice to children is to keep dreaming and dream big. She spoke to 100 students at the 2018 Disney Dreamers Academy in Orlando last week.

“I think it’s important for Dreamers to know that you can be successful and it starts with your dream,” she said. “And it starts that dreaming just makes everything blossom into the rest of your life. I don’t want them to dream as if they are going to be something in the future. I want to dream about who they are right now and empower themselves with that dream.”

She also spent time with parents and guardians at a private event withalongside ABC’s The View co-host Sunny Hostin and Mikki Taylor of Essence magazine.

(From left to right) Mikki Taylor, Sunny Hostin and Ruth Carter discuss parenting and cultivating the goals of children at the 2018 Disney Dreamers Academy.

Kelley Evans

“My mom was curious about what the heck it was I had done with my life and my education, but she was patient with me,” Carter said. “So my advice to parents is to be patient. Your kids are going to find their path, they’re going to blaze their trail. Do not do the helicopter mom thing.”

Carter’s journey includes the designing of costumes for Jungle Fever, Mo’ Better Blues, What’s Love Got to Do With It, Four Brothers, Sparkle (2012), The Butler, Selma and Being Mary Jane.

“The hardest part of my journey is management,” Carter said. “I think that I’ve got the costume design thing. I can do that. I can dress almost anybody. But I have to bring artists into my group, into my team and to tap into their minds. So the management part of the creativity is really the hardest and I think once they understand what you want, they flourish. But it’s not until you get to that part does it work.”

‘Black Panther’ dominance: ‘A movie can’t get to $1 billion globally without tapping into some universal truths’ The superhero epic bests even ‘The Dark Night’


As of today, Marvel’s Black Panther has crossed the billion dollar box office mark globally. The film is the sixteenth Disney Studio film to reach this milestone — and it did so in less than a month — and it’s only the fifth Marvel film to achieve this accolade. Other films that have earned this amount include The Avengers, Avengers: Age of Ultron, Iron Man 3, and Captain America: Civil War. Black Panther continues to impress financially, as it also is now the No. 9 release of all time and after this weekend, it will be the No. 2 superhero release of all time, besting The Dark Knight, which earned $535 million domestically. Black Panther has already claimed the No. 1 February debut, among other achievements, and it’s one of only 4 films to surpass $100M mark in second weekend.

“This is the first time that a movie has opened in February and made $1 billion globally,” says Phil Contrino, the Director of Media & Research for the National Association of Theatre Owners. “The notion that moviegoers will only come out in droves during the summer and the holiday season is now officially dead. Compelling content will play well at any point in the year.” Overseas, Black Panther will shoot past the $500M mark this weekend, after its Friday opening in China – the last market for the film to open in — where it grabbed a first day estimate of $22M. That the film has been able to excel — and breakdown long-held theories that films with largely black casts don’t sell in overseas markets — is remarkable.

“A movie can’t get to $1 billion globally without tapping into some universal truths. Black Panther’s emphasis on the importance of family and identity helped it transcend race, and that’s why it’s had no problem playing so well around the world,” Contrino says. “Audiences are sending a clear message that they want to see more diversity on the big screen. I really hope that five years from now we can look back at Black Panther as the moment that permanent change began.”

Chadwick Boseman on the revolutionary success of ’Black Panther’ and the possibility of a sequel ‘When you win a championship with a team, that makes you more ready to win another one’

The morning of Black Panther’s release, Chadwick Boseman, the film’s star, is the coolest guy in the building. On a weekend in Los Angeles when everyone is marveling at the world’s best basketball players, superheroes to kids and adults alike who defy gravity daily, folks are bypassing ballers to crane their necks at Boseman and get off cellphone shots.

Of course they are. Then as now, the film is outpacing what anyone could have ever dared to dream. Anyone. 2015’s Star Wars: The Force Awakens took 10 days to make half a billion dollars globally. It took Black Panther nine days. Nine days.

That, of course, doesn’t account for inflation, but that number most certainly is solid. And impressive. The biggest number ever for a black writer and director. The biggest number ever for a predominantly black cast. A really big number for a film — regardless of the race of the cast, director or writer — period.

And Boseman — a guy who only five years ago was introducing himself to North America as a newbie actor plucked from obscurity to star in the 2013 biopic 42 as Jackie Robinson, a real-life superhero on the field of dreams and in the arena of social justice — is proud. As he should be.

We talk.

How did we get from Jackie Robinson to the Black Panther?

It’s just about trying to find new challenges. Obviously 42 was a huge challenge, and I think each role after that, and leading up to Panther, has been that. The worst thing is for opportunity to come and you’re not ready for it. I think for me, it’s just trying to be ready for whatever comes. That’s how I’m here.

Nate Moore, the lone African-American film producer in the Marvel division, told me that when he saw you as Jackie Robinson, he knew then and there that you were Black Panther. What do you think he saw?

I don’t know! Plus, Nate is a hard person to read, you know? That’s one of the great things about him, that he has a great poker face. I have to try and get up under that and figure out what he saw.

This film is breaking records left and right. How do you even begin to wrap your head around this moment?

Surprise is not the word. It’s relieved. I’m relieved, and just very hopeful for the audience that sees this movie. And it’s a varied audience. It’s not just African-American. It’s not just African. It’s people throughout the world, various ages, gender — none of that matters. Across the board, we’ve had people basically say that they love the movie and that they were touched by the movie. I knew going into it that there was a great opportunity for storytelling here — something that would be cutting-edge. I knew that from a comic book. Even before I got the role, I knew that if there was ever a Black Panther movie made, [it] had the opportunity to do something really special in the world. So to see that come into fruition and to see other people, I’m not going to say unanimously because it’s always going to be some people that are against you or opposing you or haters, but even they can be turned around in the long run! Maybe they wait until they see it on HBO or they see it On Demand and they’re like, ‘I feel dumb that I missed out on this moment.’ But it is a moment. And I appreciate just being able to enjoy it, at the end of all the hard work.

“Internationally, when we were doing a press tour, we saw people from many different countries in Asia … entering into our interviews wearing their traditional garb. Just because they had seen us do it.”

Was there a moment when you were making this film that you thought this is really going to be bigger than even perhaps I thought it could be?

With each of the roles I’ve done, what I’ve made it a point to do is to not get ahead of myself. I think [director] Ryan [Coogler] is very much like that too. He’s a one foot in front of the other type of person, so you don’t miss anything. So I think it was just a thing of us trying to get the work done, and closing out what the impact was going to be and what the response was going to be, because you don’t know that. You can’t control it. I don’t think there was any moment where we were like, ‘Oh, this is going to be …’ [But] we knew it was different. We knew it was something we all wanted to put our lives on hold for.

Every role that you played — Robinson, Thurgood Marshall, James Brown — they’ve done so much and contributed so much. Tell me why you gravitate toward those types of roles.

It’s not just me. There’s a team of people that work behind me. And I think we’re honestly just, first of all, just reading for the enjoyment of it. Like, if I don’t like the script then I’m not going to like the movie. And I think it is, again, the challenge of what those roles are. They didn’t necessarily have to be icons or public figures. As far as the roles that I’ve played, African-American figures or from African descent, sometimes we don’t get to see that often from a black actor. We don’t get to see that often from a black storyteller. For me, I’m just trying to push that envelope. We have some roles that we play where people are like, ‘Why is he doing that?’ But I’m not concerned about that. I’m concerned about pushing myself to a different place, and the envelope to a different place and even a discussion to a different place, even if you don’t like it. It’s my job as an artist to do certain things that people catch later.

What’s the discussion you’d like people to be having about this film right now?

The first conversation is one of pride. I think this movie, it touches pride from a lot of different places. Even internationally when we were doing a press tour, we saw people from many different countries in Asia, they were entering into our interviews wearing their traditional garb. Just because they had seen us do it. They had seen videos of us doing it. They’d seen the movie so wanted to come in wearing the things that were close to them and meant something to them. That specificity … for culture, as opposed to what very often happens when we become multicultural is everybody leaves their culture behind — which is not multicultural, actually. The fact that you can be multicultural and actually express yourself [from] your origin, that conversation is an amazing conversation. This movie is so unapologetically African and black. The fact that other people can take something from it is important. And I think within the movie, there’s also a conversation that’s happening between the African on the continent and the African-American. I think [that will] go on in a way that it hasn’t on a large stage. It’s happened between public figures in history in the past — you have to do your own homework for that — but I don’t think it’s happening across the board, with everyone [being] privy to it, and it can continue. And then there’s a conversation about the women in the movie, and … beauty and strength and … the fact that it can exist in many different ways.

How did being a part of this change you?

The jury’s still out! I think any time you have an experience like this, when you go through a struggle, when you go through a war, essentially, to get something done and you have a group of people around you like we have in this movie, there’s a camaraderie that you share with that group of people. That in and of itself changes you because there’s a sense of community and family. And accomplishment. When you win a championship with a team, that makes you more ready to win another one.

“It’s important for a black, or a child of African descent, to see me. It’s just as important for a white kid to see me.”

What’s next for you?

I’m just trying to keep making movies. That’s it. I don’t want to say what’s exactly next. Can’t give it away just yet.

I’ve seen little kids give you valentines or give you hugs or give you affirmations about how important this moment is. What does it feel like when you have been getting that type of feedback from that particular audience?

It’s beautiful. It’s just beautiful, honestly. I mean because as a kid, you grew up playing superheroes. I would steal different parts because I wanted all the powers I could get! I would try to have Spider-Man’s webs, Superman’s strength, Wonder Woman’s bracelets — I wanted everything! So to be that for somebody … like, first of all, their imagination. They’re creating a whole different world within their minds, and then … you don’t realize it until you get older that you can draw on that feeling of invincibility in real moments and use it. And so, as a kid, you need to have that. You need to be able to play upon that. And it’s important to have superheroes that look like you and don’t look like you. Just like me saying I wanted Wonder Woman’s bracelets; I didn’t see anything wrong with that. And I didn’t see … anything wrong with being a Spider-Man. It’s important for a black, or a child of African descent, to see me. It’s just as important for a white kid to see me.

Before your fans even walked into the film, and certainly when they walk out of the film, they’re ready for Part 2. Is it too early to talk about the sequel?

It’s not too early for them to talk about it. They can talk about it! It’s too early for me to talk about it. But … please talk about it!

‘Black Panther’ unlikely to change Hollywood’s lie that black movies can’t make money Hollywood’s biases have proven themselves stronger than its commitment to the bottom line

Any hopes that Black Panther’s box office conquest will spur Hollywood to greenlight heavily-financed movies featuring Pan-African stories and performed by predominantly black casts must be muted. Racial discrimination is not a product of logic, but rather its antithesis.

Marvel Studios’ latest movie, based on the comic company’s first black superhero, is generating earth-shattering sums of money, amassing $235 million over the first four days of its release in the U.S. and Canada alone. Directed by a black man, 31-year-old Ryan Coogler, with nearly an all-black cast and powered by a $200 million budget, the film is filling Disney’s corporate coffers and delighting its largely white executive decision makers. With films featuring black casts rarely enjoying big budgets, Black Panther will show the financial rewards that Hollywood can reap with black movies rooted in uniquely black experiences.

Many hope the economic triumph of Black Panther will persuade studios to bankroll similar movies with nine-figure budgets. This hope is buoyed by simple logic: Once scenario A proves itself, others, likewise seeking economic success, will copycat. Black Panther’s achievement, therefore, should coax others to understand the financial wisdom in backing black blockbusters. Proof of concept opens opportunity to others, so the theory goes.

An unavoidable truth, however, must temper this expectation: Hollywood’s ongoing discrimination against black movies isn’t supported by logic and evidence, so why believe illogical people will amend their behavior based on evidence that they were wrong all along?

Movie studios would insist that the leading reason for not investing big bucks in predominantly black films is that international markets won’t support them. Comedian Bill Maher, in that vein, said of Asian moviegoers, “They don’t want to see black people generally in their movies. The Hollywood executives are, like, ‘We’re not racist, we just have to pretend to be racists because we’re capitalists. We want to sell our movies in China [and] they don’t like Kevin Hart.’” With Hollywood increasingly reliant upon international dollars to turn profits, overseas perceptions matter greatly.

This is where the illogicalness of racial discrimination pierces through and why we mustn’t expect Black Panther’s success to lessen discrimination’s prevalence in Hollywood: The idea that “black films” don’t make coins internationally has long been proven demonstrably false.

Go back 30 years to Coming to America, a comedy starring Eddie Murphy, released in 1988, which made $160.6 million internationally. Or look at the two Bad Boys action movies, led by actors Will Smith and Martin Lawrence, the original released in 1995 and the sequel in 2003. Together the films earned $210.3 million in foreign countries. The black superhero movie Blade, with Wesley Snipes playing a vampire as the lead, made $61 million internationally 20 years ago. The Fast and Furious franchise practically prints money in China, starring mixed-race Vin Diesel and Dwayne “The Rock” Johnson and black actors Ludacris and Tyrese Gibson. And even the indie film Moonlight, with an all-black cast with no movie stars and a production budget of around $4 million, did $37 million internationally.

When a black movie rakes in the cash overseas, however, Hollywood insiders toss out an endless array of excuses as to why this or that black success story cannot be used to kill the assumption that black movies represent bad overseas investments.

Appealing movies with black casts can make money in foreign markets. The proof surrounds us. Just like movies featuring white leads, black movies need to be well-executed and appealing. If so, people across the globe will pay money to see them.

But why, then, does Hollywood swim against the current of evidence? Why do movie studios need proof of the concept when the concept has already been proven? The answers stare us in the face: These arguments about why black movies aren’t being greenlit are not being made in good faith; the strength of Hollywood’s biases against black movies are stronger than the commitment to the bottom line; sometimes logic is not enough to persuade people to behave in a racially fair way, particularly when discrimination pervades the entire industry.

Jeff Clanagan, president of Lionsgate’s Codeblack films, told the Los Angeles Times, “Every time there’s a success, it gets swept under the rug. … It’s almost like there’s an asterisk on it. They chalk it off as an anomaly.”

We should brace for something similar regarding Black Panther. Hollywood bigwigs will laud the movie as so unique that its appeal cannot be applied to the next black project in the pipeline waiting to be greenlit. Sure, we will get Black Panther sequels. But other movies rooted in blackness produced because of Black Panther’s success? History teaches us we should temper our expectations.

For now, a Hollywood that acknowledges the potential of black films is as fictional as Wakanda.

From the runway to Wakanda, black style reigns during New York Fashion Week

Photographer Melissa Bunni Elian went backstage at New York Fashion Week to capture several runway shows and pop-up events that showed off the creativity and ingenuity of black designers, models and attendees — including Marvel Comics’ Welcome to Wakanda event, just in time for the opening week of Black Panther, the Black Accessory Designers Alliance soiree, and the Matthew Adams Dolan, LaQuan Smith and Pyer Moss shows.

A model showcases a design inspired by the Marvel comic and upcoming film Black Panther during a Welcome to Wakanda event held during New York Fashion Week on Feb. 12.

Fashion blogger Joy Adaeze (center) with Black Panther’s wardrobe designer Walé Oyéjidé (right) and a model sporting his design during the Welcome to Wakanda event hosted by Marvel Comics during New York Fashion Week.

LaQuan Smith show.

Backstage at the Michael Adams Dolan show.

Backstage at the Michael Adams Dolan show.

The LaQuan Smith show.

Pyer Moss show.

Pyer Moss show.

Accessories designer N’tasha presents a pair of custom earrings from her collection, House.of.Kaluaah. The Black Accessory Designers Alliance hosts the event for both established and new designers such as N’tasha to expose them to the wide range of New York Fashion Week attendees.

A group of women network while wearing head wraps by Urban Turban for the Black Accessory Designers Alliance pop-up soiree held during New York Fashion Week.

LMCrush designer Lisa McFadden styles a hat on a potential customer for the Black Accessory Designers Alliance pop-up soiree held during New York Fashion Week. The organization presents diverse accessories created by designers of color from across the country and the world.

A model showcases a couture hat for the Black Accessory Designers Alliance pop-up soiree held during New York Fashion Week.

Why ‘Tell Them We Are Rising’ is a must-see The documentary tells the story of how black colleges brought our people out of slavery

I have watched Stanley Nelson’s documentary, Tell Them We Are Rising, three times now.

The first viewing was in 2017 at the Sundance Film Festival, where Nelson and his team received a standing ovation after the audience watched the film. The second was last summer at a private screening in New York, where Nelson discussed the film and filmmaking with five students from historically black colleges. The third time I joined an audience in the Oprah Winfrey Theater at the National Museum of African American History and Culture to view the film on Monday with Nelson in attendance.

Each viewing uncovers new nuggets of insight that underlined the tenacity and resilience of enslaved men and women so desperate for education that they risked death to learn to read.

Nelson said he was inspired to tackle Tell Them We Are Rising for multiple reasons.

His parents attended historically black colleges and universities (HBCUs). His mother, Alleluia Ransom, attended Talladega College in Alabama. His father, Dr. Stanley Nelson, attended Howard University. “That changed their lives, and it changed my life,” he said.

Nelson’s larger vision was to pay homage to a significant African-American institution. The subject was not particularly sexy, but it illuminated the quest for black freedom through the prism of higher education. “There have been just a few institutions that we’ve had as African-Americans that have sustained us,” Nelson said during a recent interview. “One of them is black colleges and universities. I thought that it was a story that nobody was lining up to tell.”

With several Emmys, a Peabody and MacArthur Fellowship, Nelson has become one of the country’s most accomplished documentarians. This film, Tell Them We Are Rising, may have been one of the most difficult he has attempted.

There were challenges and hurdles. The first was how to take a collection of great but individual HBCU stories and weave them into a narrative that described a powerful, overarching experience.

“So many times, people think of it as the Morgan State story or the Howard story or the Fisk story or the Spelman story,” Nelson said. “Nobody was looking at it as a united story.”

Unlike his powerful civil rights documentary Freedom Summer, based on Raymond Arsenault’s book Freedom Riders: 1961 and the Struggle for Racial Justice, there was no one classic text to draw from. In Tell Them We Are Rising, Nelson and his team had to piece together footage, articles, photographs, “everything we could” to tell a captivating story.

The other challenge was telling the story of an institution whose history continues to unfold.

His 2015 documentary, Black Panthers: Vanguard of the Revolution, accounted for a period between 1966 to 1972 and chronicled certain watershed moments. By contrast, Tell Them We Are Rising covers the 150-year journey of black colleges in 90 minutes.

Some scenes were especially hard to watch, as the film explores historical events particularly personal to African-American viewers, such as the killings by law enforcement of Southern University students Denver Smith and Leonard Brown during 1972 protests, which remain unsolved.

Every black college graduate 65 or older lived through one of these moments, whether at a predominantly white institution petitioning for more black awareness or at an HBCU petitioning a conservative administration to take back its blackness.

But as president and CEO of the United Negro College Fund Michael Lomax said, the story of HBCUs is not simply a story of deprivation, need and want.

“The story of HBCUs as Stanley tells it is the story of powerful action,” Lomax said. “There are so many stories to choose from we had to figure out what stories would work and leave the audience with a sense of what black colleges have been and maybe where they are going.”

One of the most poignant moments of Tell Them We Are Rising takes place at Spelman College when Alversia Wade, an incoming freshman, explains why she chose the institution.

Wade spent her young academic career, from kindergarten through high school, as the single black student in her school. She describes the feeling of walking on campus and seeing a sea of fellow black students. “They all look like you,” she said, her voice cracking with emotion. “They all looked like you.”

Tell Them We are Rising, which airs Monday night on PBS, comes at a time when there is a hunger for positive, powerful images and good news within the far-flung black community.

On Friday, Marvel’s much-anticipated superhero film, Black Panther, will open in theaters across the country. Nelson was working on his Black Panther documentary when Marvel announced it was planning to release its superhero movie in 2018.

“When I first heard about it, I thought about Huey Newton, Eldridge Cleaver and the bunch,” Nelson said.

There was some confusion. “People would call up and say, ‘I hear you’re working on this Black Panther film, is it Marvel or is it DC?’ ” Nelson recalled. “I said it’s neither one of them. It’s real life.”

He looks forward to seeing the film. “It’s that it’s creating so much excitement. Like, it’s something African-Americans needed and didn’t know they needed.”

The HBCU student, in many ways, is like the hero of Black Panther — a mythical African superhero existing outside the suffocating institutionalized racism that defines virtually every minute, every hour, of life for black Americans. While their institutions are often under-resourced, black students who choose the HBCU experience enjoy the psychic respite and reinforcement of being in the majority.

At a time when 9 percent of black college students were enrolled at an HBCU in 2015, the often-asked question is do we still need HBCUs? The question overlooks the reality that 90 percent of black students are spread over thousands of predominantly white institutions, leaving those who attend a significant but often overwhelmed minority. The largest concentration of young black college students resides at the nation’s historically black colleges and universities. For many young students, that alone is worth the price of the ticket.

HBCUs are not for everyone, no more than single-gender schools are not for everyone. Still, black colleges and universities are needed more than ever.

During a post-film panel discussion Monday, former Spelman president Johnetta Cole said, “If historically black colleges and universities did not exist, we would have to invent them. … Since they do exist, we have an extraordinary responsibility to support them.”

“Until racism and racialism end in this country, there will be a need for HBCUs,” Nelson told me. “Until the education system is an even playing field — from elementary school to junior high school until college, until those things are equal — we still need HBCUs. Until we have an equal society, young African-American people need a safe intellectual space that HBCUs provide.”

Lomax, the United Negro College Fund president and CEO, said Tell Them We Are Rising was “an inspirational story. It is a call to action to our community, first and foremost to invest in them, to own them, to support them and to ensure that they remain durable in the future.”

That resonates.

Tell Them We Are Rising challenges those of us who attended HBCUs. A challenge to look in the mirror, to step up, to donate what Cole referred to as the three Ts: our time, our talent and our treasure.

This is the only way HBCUs will continue to rise.

“These institutions will not survive without our support,” she said. “It’s as simple as that.”

To share in the conversation about Tell them We Are Rising, join us on social media Monday, using the hashtags #HBCURising and #BHMxHBCU.

‘Black Panther’s’ superpower allows it to leap over other superhero movies in a single bound More than a cool-looking bit of escapism, it’s a meditation on colonialism

This review contains spoilers.

The most anticipated superhero movie of the year, and quite possibly ever, is a movie about foreign policy.

In Black Panther, director Ryan Coogler has crafted a thoughtful, personal, detailed exploration of the implications of isolationism and colonialism. It’s gorgeous, emotional and full of inventive, eye-popping fight scenes. And it’s also a really good movie, and not just by the curved standards we’ve developed for standard superhero tentpoles.

Honestly, the worst thing about Black Panther is that it had to be released in 2018 and not during the term of America’s first black president. (The producers of The Final Year, the documentary about former President Barack Obama’s real-life Justice League of Wonks and Nerds, must be kicking themselves.)

Try to imagine all the regal African pageantry of Black Panther’s Los Angeles premiere, copied and pasted onto the East Wing of 1600 Pennsylvania Ave. Had Black Panther been released while Obama was in office and enjoyed a screening at the White House, it would have made for some powerful symbolism, with Obama, the biracial son of a Kenyan graduate student, greeting Chadwick Boseman, the son of Howard University who plays T’Challa, the king of the movie’s mythical African nation of Wakanda. It also would have offered a lasting rebuke to the legacy of President Woodrow Wilson’s White House screening of a different and deadlier fantasy, The Birth of a Nation. (PBS recently aired Birth of a Movement, a documentary that illustrates the way film, particularly D.W. Griffith’s racist Klan propaganda film, became a powerful force in influencing policy.)

It’s quite moving, then, to consider the message embedded within Black Panther, spread through every inch of Hannah Beachler’s meticulously luscious production design, every stitch of Ruth E. Carter’s costuming creations, every word of dialogue conceived by Coogler and co-writer Joe Robert Cole.

The worst thing about Black Panther is that it had to be released in 2018 and not during the term of America’s first black president.

Boseman may be the titular star of Black Panther, but the emotional core of the movie lies with the character of Erik Killmonger, who is T’Challa’s cousin and a lost son of Wakanda. Coogler reserved the most complex role for his friend and leading man of his two most recent films, Michael B. Jordan.

Killmonger grew up in the slums of Oakland, the birthplace of the Black Panther Party, with his American mother. His father, N’Jobu (Sterling K. Brown), was brother to T’Challa’s father, T’Chaka (John Kani).

N’Jobu and T’Chaka had a fundamental disagreement over Wakanda’s role in the world. The country is a magical one, built on a foundation of the mythical substance vibranium, and hidden in plain sight in West Africa. Vibranium is a substance of endless capability, a wonder of physics that absorbs the energy directed toward it, then uses it as fuel. When ingested, it possesses healing qualities, rendering surgery obsolete. When sewn into clothes, it turns into the sort of lightweight supersuit that Tony Stark could only dream of. Used as fertilizer, it nurtures a herb whose fruit allows those who ingest it to commune with the dead. To outsiders, Wakanda looks like an underdeveloped Third World nation, full of brush and goats. The people of Wakanda have pledged to guard its most closely held secret: that with technology powered by vibranium, it’s actually the most advanced society in the world, a place that makes Elon Musk’s house look like little more than a fancy pigsty.

There’s a compelling argument for keeping Wakanda, which accepts no foreign aid and does no importing or exporting, isolated from the rest of the world. Its people have witnessed how colonialism has ravaged the continent, stealing people and dividing families, poaching precious metals and natural resources, creating arbitrary borders and deadly conflicts and leaving corrupt governments in its wake.

In fact, in the rare instances when they encounter white people, Wakandans simply refer to them as “colonizers.”

But N’Jobu, dispatched to see the rest of the globe, encounters a world full of disenfranchised people who look like him, ignorant of the bounty of Wakanda and struggling against the effects of imperialism and systemic racism. He wants to use vibranium to help them. But T’Chaka says no, worried that once the world learns of Wakanda’s secret, it will suffer the fate of the rest of colonized Africa. At the least, Wakanda will be forced to defend itself against ill-intentioned and well-armed outsiders. When N’Jobu decides to subvert his brother’s orders, T’Chaka is forced to kill him, and little Erik discovers his father’s corpse.

About 20 years later, after the U.S. military and intelligence community has turned him into an efficient, merciless, death machine, Killmonger sets out to complete his father’s vision.

It’s too simplistic, and frankly unfair, to label Killmonger simply as a villain. He’s an angry, half-orphaned son of Wakanda whose mind has been colonized in ways he’s incapable of realizing. Without the support of his homeland and his people, lacking the spiritual grounding that protects vibranium and Wakanda, Killmonger grows into a Che Guevara-like figure. He commits what French philosopher Frantz Fanon called “horizontal violence” against his own people.

Therein lies the brilliance of Black Panther. Superhero movies don’t have to be plotless monuments to excess and violence. With this film, Coogler illustrates the yawning expanse between self-indulgent brooding and true profundity.

Coogler puts on a filmmaking clinic, expertly navigating the tropes of superhero films that have made so many of them a chore instead of a joy. Coogler snatched one of Zack Snyder’s (300, Watchmen, Man of Steel) most irritating directorial habits, shooting action and fight scenes in the dark, and made it not just watchable but artful. That’s what happens when you have cinematographer Rachel Morrison at your service — you find natural ways to capture black people in action while retaining detail and color. Morrison recently became the first woman to be nominated for a cinematography Oscar for her work on Mudbound.

Superhero movies don’t have to be plotless monuments to excess and violence.

There is little that feels derivative, aside from the battle scenes with Wakanda’s flying saucers, which feel like they could easily appear in Guardians of the Ragnarok Star Wars, which isn’t wholly surprising given that they’re all Disney properties (full disclosure: Disney owns The Undefeated). The fight scenes in Black Panther feel original, and organic to the film. That’s a challenge considering how often Marvel employs the same second unit (the people who shoot and choreograph fight scenes) across its movies, which leads to a superhero battle homogeneity.

Everything about Wakanda is rooted in real African nations and peoples, such as the Masai, the Zulu, the Mursi and others, not the imagined “generic tribal African” who shows up in pop culture so often. For instance, the setting of the challenge battle, which determines who will ascend to the throne, is a nod to the natural majesty of Victoria Falls. Audiences have every right to be angry at cultural appropriation when it’s poorly done. Coogler and Black Panther prove that having such expectations is not unreasonable or misplaced.

There’s a quote from playwright and director George C. Wolfe that graces the walls of the Blacksonian in Washington. “God created black people,” said Wolfe, “and black people created style.”

That’s the essence of Wakanda.

Black Panther doesn’t feel like any other Marvel movie because this is not a typical Marvel movie. It’s coming out in the middle of Black History Month, and it’s on track to perform just as well as if not better than any highly anticipated summer blockbuster. It’s funny without falling into the sort of smart-aleck remark-smart-aleck remark-EXPLOSION rhythms that have come to typify Marvel movies to the point that somehow Doctor Strange and Guardians of the Galaxy Vol. 2 don’t feel all that different. That’s not just a Marvel tic, that’s a Hollywood tic: Find something that works and then run it into the ground. Then reboot it, rebrand it and spin it off as long as it makes gobs and gobs of cash.

There is a requisite scene that connects the film to the rest of the Marvel Cinematic Universe, but it’s a postscript that comes after the credits roll. It’s the only bit that feels like it was mandated by the company. Best of all, Black Panther doesn’t feel as though Coogler had to sacrifice the brilliance and introspection that characterized his earlier movies such as Creed and Fruitvale Station for scale and product licensing. Instead, it’s a compelling character study and full of mirth. That’s especially thanks to T’Challa’s upstart younger sister, Shuri, played by Guyanese actress Letitia Wright, Black Panther’s breakout actress. She’s witty, charming and completely unfazed by her brother’s enormous power and responsibility. She’s also Wakanda’s whip-smart gadget mistress, the Q to T’Challa’s Bond. Also notable are the Dora Milaje, Wakanda’s elite, all-female corps charged with guarding the king. Remember the feeling that swelled from your gut to your heart and out your eyeballs while watching Diana Prince walk through No Man’s Land in Wonder Woman? Witnessing the Dora Milaje, especially any scene that includes Okoye (Danai Gurira) or Nakia (Lupita Nyong’o) is like that, times 10.

At some point, I suspect that chatter surrounding Black Panther will turn to the 2019 Oscars. Black Panther’s masterful execution makes it an undeniably obvious choice. Not only does it have the revelatory newness of Avatar, but it actually has a story to back it up too.

But beyond the concerns of awards or box-office receipts, Black Panther is something special: thoroughly African and yet completely American, and evidence of just how much black people can and have yet to do. Perhaps it’s even capable, just as The Birth of a Nation once was, of helping to steer an entire national conversation.

Who is the best Black Marvel character?

Who is the best Black Marvel character?

1 Black Panther

16 Nick Fury

7 Monica Rambeau

10 Cloak

3 Luke Cage

14 Shuri

5 War Machine

12 Moon Girl

Storm 2

Bishop 15

Blade 8

Misty Knight 9

Miles Morales 4

Doctor Voodoo 13

Sam Wilson 6

Riri Williams 11

UPDATED: FEB. 12 | 7:45 A.M.

UPDATED: FEB. 12 | 7:45 A.M.

The Competition

(top, left to right) Black Panther, Storm, Luke Cage, Miles Morales, War Machine, Sam Wilson, Monica Rambeau, Blade, Misty Knight, Cloak, Riri Williams, Moon Girl, Doctor Voodoo, Shuri, Bishop, Nick Fury

The heavens have opened, the choirs are singing and clapping, and the parade of happy black and brown faces is making its way from the cookout to the movie theater. It’s practically the modern-day version of The Wiz’s “Everybody Rejoice” out there.

What’s the cause for all of this celebration? Well, after waiting for what’s felt like eons and obsessing over every new teaser, trailer and GIF we could find, the release of Marvel’s Black Panther is finally here.

In preparation for what could be the blackest and nerdiest moment in the history of blacks and nerds, we got to thinking in the particular way that nerds do. Among the pantheon of black comic book characters, who could beat who in a fight? Instead of deciding for ourselves, we’re going to let you, the fans, decide in our Who is the best Black Marvel character? bracket. For the sake of staying on theme with Black Panther, all 16 of the bracket’s entrants come from the Marvel Universe and were seeded using a system based on their popularity, fighting abilities and prevalence in both comic books and film/television.

The power is yours from now through Thursday. Cast your vote on each round of matchups to help decide the ultimate Marvel bracket winner.

Biographies Ordered by seed

Black Panther (1)

200 lbs.
First Marvel Appearance:
Fantastic Four Vol. 1 #52 (1996)
Unarmed combat; vibranium-laced suit; catlike reflexes and senses
T’Challa, the king of the fictional African nation of Wakanda, is both Marvel’s first black superhero and the first American comic book hero of African descent. Black Panther, who predates the Black Panther Party, battled the Ku Klux Klan in 1975’s The Panther vs. the Klan.

Storm (2)

127 lbs.
First Marvel Appearance:
Giant-Size X-Men #1 (1975)
Manipulation of weather; wind-assisted flight; skilled lock-breaking
Ororo Munroe, a descendant of African royalty and part-time leader of fabled group the X-Men, evolved from homeless thief to commander of weather and, through her marriage to Black Panther, the queen of Wakanda.

Luke Cage (3)

425 lbs.
First Marvel Appearance:
Hero for Hire #1 (1972)
Superhuman strength, unbreakable skin, expedited healing
Born Carl Lucas in Harlem, New York, Cage was arrested after police found planted heroin in his apartment. While in prison, Cage was the test subject of a botched cell regeneration science experiment that led to him accidentally being given enhanced strength and nearly impenetrable skin.

Miles Morales (4)

160 lbs.
First Marvel Appearance:
Ultimate Fallout #4 (2011)
Spider-senses; wall-crawling; super strength; web-shooters
Brooklyn-born Miles Morales, a 13-year-old child of African-American and Puerto Rican descent, assumed the mantle of Spider-Man in 2011 after being bitten by a radioactive spider and after the “death” of the original Spider-Man, Peter Parker.

War Machine (5)

210 lbs.
First Marvel Appearance:
Iron Man #118 (1979)
Iron Man armor, cybernetic limbs, unparalleled piloting skills
James “Rhodey” Rhodes, a U.S. Marine, is a close friend of Tony Stark’s — otherwise known as Iron Man. While Stark recovers from alcoholism, Rhodes takes on the Iron Man name before eventually being given a suit of armor of his own, named the War Machine.

Sam Wilson (6)

240 lbs.
First Marvel Appearance:
Captain America #117 (1969)
Telepathy; wing-assisted flight
Wilson, better known as the Falcon, regularly fought alongside Steve Rogers/Captain America to combat crime in New York City. Wilson took over the Captain America role on more than one occasion: once when Rogers was “killed” and the other when Rogers was aged to that of an elderly man.

Monica Rambeau (7)

130 lbs.
First Marvel Appearance:
Amazing Spider-Man Annual #16 (1982)
Exceptional gun skills, electromagnetic transformation, light-speed flight
A former New Orleans law enforcement lieutenant, Rambeau took over the Captain Marvel (also a Brie Larson-helmed movie slated for 2019) mantle in 1982’s Amazing Spider-Man Annual #16, becoming the first woman and (only) African-American to use the Captain Marvel moniker.

Blade (8)

215 lbs.
First Marvel Appearance:
Tomb of Dracula Vol. 1 #10 (1973)
Ageless; superhuman strength and stamina; martial arts expertise
The London-born Eric Brooks is the son of a woman who, during childbirth, was bitten by a vampire, thus passing on the abilities and strengths of vampires with few of the weaknesses. Blade turned to fighting other vampires and the undead after the death of his close friend, musician Jamal Afari.

Misty Knight (9)

136 lbs.
First Marvel Appearance:
Marvel Team-Up #1 (1972)
Bionic arm; outstanding markswoman; skilled martial artist
Mercedes “Misty” Knight is a former member of the New York Police Department who, while trying to dispose of a bomb before it detonated, had her right arm amputated after the explosion. Through Tony Stark, Knight was given a new, bionic arm, which she used to fight crime with partner Colleen Wing.

Cloak (10)

155 lbs.
First Marvel Appearance:
Peter Parker, The Spectacular Spider-Man #64 (1982)
Manipulation of darkness; teleportation; life force absorbance
Tyrone Johnson, a South Boston native who fled to New York City after the police-involved shooting death of a close friend, was, along with female friend Tandy Bowen, aka Dagger, injected with a synthetic drug, giving him the appearance of a shadowy darkness.

Riri Williams (11)

100 lbs.
First Marvel Appearance:
Invincible Iron Man Vol. 2 #7 (2016)
Iron Man armor; advanced intelligence
Williams grew up in Chicago, where, at a young age, she was determined to be a supergenius, allowing her to attend the Massachusetts Institute of Technology at just 15 years old. In her spare time, Williams created her own version of Tony Stark’s Iron Man armor using material she could find. Eventually, Williams took over for Stark, becoming the Ironheart.

Moon Girl (12)

48 lbs.
First Marvel Appearance:
Moon Girl and Devil Dinosaur #1 (2016)
Advanced intelligence; able to swap consciousness with Devil Dinosaur; enhanced strength
Lunella Lafayette, a 9-year-old elementary school student from Manhattan, is given the disparaging nickname “Moon Girl” by her classmates after a debate with her schoolteacher. Lafayette shares a bond with Tyrannosaurus rex-like mutant Devil Dinosaur.

Doctor Voodoo (13)

220 lbs.
First Marvel Appearance:
Strange Tales #169 (1973)
Control of fire; command over animals
Jericho Drumm, a Haitian who eventually immigrated to the United States, gained the powers of Doctor Voodoo, a powerful 17th-century lord, after the death of his brother, Daniel. A voodoo teacher fused the spirits of Jericho and Daniel, leading Doctor Voodoo to use his powers to help others, including Spider-Man and Black Panther.

Shuri (14)

150 lbs.
First Marvel Appearance:
Black Panther Vol. 4 #2 (2005)
Vibranium claws; transmorphic; skin that turns to stone
The younger sister of T’Challa, Shuri is the heiress to the Wakandan throne. During 2009’s Black Panther Vol. 5, a trained fighter like her older brother, took over as the Black Panther while T’Challa recovered from critical injuries suffered in a plane crash.

Bishop (15)

275 lbs.
First Marvel Appearance:
Uncanny X-Men #282 (1991)
Energy absorption; exceptional marksman; energy-fused blaster
Lucas Bishop was born in Brooklyn, New York, in a “alternate future timeline” where virtually all of the X-Men have been destroyed. Along with his sister, Shard, Bishop joins a ragtag group of mutants named the Xavier Security Enforcers (X.S.E), who work to create harmony between mutants and humans.

Nick Fury (16)

221 lbs.
First Marvel Appearance:
Sgt. Fury and His Howling Commandos #1 (1963)
Decelerated aging; Special Forces training; black belt in taekwondo
The original character of Nicholas Joseph Fury was a white World War II hero and leader of superhero intelligence agency S.H.I.E.L.D., but comic book duo Mark Millar and Bryan Hitch turned him into a Samuel L. Jackson lookalike in 2002’s The Ultimates’ limited run.

Sweet 16 Voting Ends Today at 6 p.m. EST

Matchup 1/8 Black Panther vs. Nick Fury

The likely favorite going into this historic first matchup would likely be T’Challa, king of Wakanda and the hero known far and wide as the Black Panther. Because of his prestigious titles, he has access to more resources than anyone can properly measure as ruler of the wealthiest and most technologically advanced nation in the world. He just so happens to also have superhuman strength, speed and agility. Combining these with his superior intellect and money makes him a near-perfect superhero.

Not that T’Challa’s opponent this round should be taken lightly, though. Nick Fury may not be royalty, but he is the commander of an army all his own as the Director of S.H.I.E.L.D., a worldwide spy agency that protects the world from domestic, international and alien threats. Fury may not have the ability to run as fast as a car or jump from one skyscraper to the next, but he can likely find a soldier or two under his command who can and will gladly do it for him.

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Matchup 2/8 Storm vs. Bishop

This matchup pits two characters most commonly associated with X-Men titles against each other, as Storm faces Bishop.

Storm, aka Ororo Munroe, is considered by many to be a goddess. The child of an African priestess and an American journalist, Storm inherited an ability to control the weather, including the ability to wield lightning, bring down heavy rains and whip up winds to hurricane-level speeds. With the use of her own ingenuity and understanding of weather patterns, Storm has used these skills to become one of the most powerful members of any group she’s been a part of — X-Men or no.

While a hit from a quick bolt of lightning would be enough to leave most of Storm’s opponents incapacitated, if not worse, Bishop has a clear advantage: the ability to absorb and disseminate energy. Does that include lightning? We’ll have to wait and see.

It also doesn’t hurt that he was born 80 years in the future into a world where the X-Men are no more and most mutants live in concentration camps. His experiences in this postapocalyptic world, knowledge of warfare and ability to produce energy blasts could work in his favor as he battles his former teacher.

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Matchup 3/8 Luke Cage vs. Shuri

Despite what the rankings suggest, this matchup is extremely close on paper. Luke Cage is a household name after appearing in multiple Netflix’s Marvel television series, including his very own. It wasn’t hard in this day and age for fans to gravitate toward a hero who’s literally a bulletproof black man with super strength. He gives pretty much anyone a tough time in a fight because he’s basically a walking, talking tank. But his opponent in this round has a few tricks for him.

If you think T’Challa is something serious, wait until you find out about his sister, Shuri. Shuri was already just as capable as her brother as a fighter, technological genius and ruler (if not more so.) She even filled in as Black Panther for a brief period. But Shuri’s gotten a serious upgrade recently in Ta-Nehisi Coates’ run after returning from an alternate realm called the Djalia. She now has the ability to turn herself into stone and a giant flock of crows whenever she pleases. So she could potentially make herself as hard as stone and hit Luke with weapons made from one of the hardest substances on the planet AT THE SAME TIME.

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Matchup 4/8 Miles Morales vs. Doctor Voodoo

This bout brings science and mysticism to blows. Miles Morales, much like his predecessor, Peter Parker, developed superpowers after being bitten by a scientifically modified spider. He has the same powers as Parker, including super strength, the ability to stick to walls and that trusty “spider-sense” that warns him of danger. But as the new and improved Spider-Man, Morales also has a venom blast that can shock and paralyze opponents and the ability to camouflage himself into invisibility.

Doctor Voodoo, formerly known as Brother Voodoo, may have what it takes to give Miles a run for his money, though. Jericho Drumm can possibly equalize most of Miles’ abilities with his manipulation of smoke and fire to both hinder his vision and prevent him from getting close enough for a finishing blow. There’s also that whole spiritual possession thing he can do for an unpredictable X-factor.

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Matchup 5/8 War Machine vs. Moon Girl

War Machine got a lot of flak for basically being Tony Stark’s sidekick who only got his start with Iron Man’s glorified hand-me-downs. This isn’t untrue, but it’s not completely fair to forget that these “hand-me-downs” are composed of some of the most advanced and capable weapons on the planet created by one of the world’s most genius geniuses. In other words, James “Rhodey” Rhodes is a walking arsenal with enough artillery to take out a medium-sized army on his own. Only questions are (1) Is he willing to use all firepower against a preteen? and (2) Will they work against a dinosaur?

These are questions Lunella Lafayette, aka Moon Girl, and her partner Devil Dinosaur are going to find the answers to in this matchup. While War Machine utilizes technology from one of the greatest minds the world has ever known, Lunella owns one of the greatest minds the world has ever known and a dinosaur she can move that mind into thanks to her inhuman DNA. Brawn, meet a highly superior intellect. Brain, meet a prehistoric killing machine.

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Matchup 6/8 Sam Wilson vs. Riri Williams

This matchup is likely to be the first time many readers are introduced to Riri Williams, the heir apparent to Tony Stark’s Iron Man technology after Rhodey’s passing and Tony being taken out of the picture for a while. Williams may be new to her role in the world of superheroes, but she’s definitely capable of holding her own.

Having a suit of armor is one thing. But having the genius-level intellect to use it and a built-in artificial intelligence based on Tony Stark himself could be just enough to give her an edge.

On the other hand, Sam Wilson is a seasoned veteran in the ways of superheroes and even spent a couple of years serving as the Captain America while Steve Rogers was out of commission. This battle is likely to take place in the sky, as both have no problem with flight, which could be costly for Riri given Sam’s ability to mentally connect with birds. The numbers could stack up against her in a matter of minutes if she isn’t careful.

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Matchup 7/8 Monica Rambeau vs. Cloak

This may be the battle we don’t deserve this soon. But we’re not going to complain because the idea of someone who can manipulate light and energy, Monica Rambeau, fighting someone who can control darkness, Cloak, is always welcome.

Monica Rambeau is a [constantly slept-on] hero who has a list of abilities longer than the Celtics’ win streak to start the 2017-18 season. She’s got your superhero basics like flight and super speed, but she also comes with the unique abilities to absorb, duplicate and fire energy and to make herself both invisible and intangible. Good luck trying to hit something you can’t see or, you know, hit.

Part of Monica’s abilities are a result of her connections to an alternate universe, which may work in the favor of her opponent, Cloak, who also gets his powers from a similar circumstance. Because of his connection to the Dark Dimension, Cloak can teleport, make himself intangible and completely flood his environment with darkness. Honestly, this matchup could end up in a stalemate and it would be entirely understandable.

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Matchup 8/8 Blade vs. Misty Knight

We have Ms. Mercedes “Misty” Knight versus the daywalker. One is a human-vampire hybrid who seemingly has the best assets from both worlds: super strength, an increased healing factor and the ability to live freely in the sunlight. The other is a skilled detective with a bionic arm.

Both are trained martial artists with the ability to land devastating blows because of their enhancements, whether they be vampiric or cybernetic. Comic book fans are more than likely familiar with Blade’s combat work (in other words, his tendency to hit professional wrestling moves and bring on Mortal Kombat fatalities with ease). But they may be surprised to know that Misty Knight is honestly just as capable as fan favorites like Black Widow, if not more so, when it comes to hand-to-hand combat and the use of weaponry.

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The Hollywood ‘Black Panther’ premiere brings out black film glitterati in full force To rousing cheers and standing ovations from glamorous stars the long awaited film is here

HOLLYWOOD — Director Ryan Coogler stood on stage next to Marvel film executives, microphone in hand, and introduced his cast of Black Panther, one-by-one. He could barely get his first welcoming words out before the audience leapt to its feet to to give him a standing ovation — the first of several throughout the night at the film’s world premiere at Hollywood’s Dolby Theatre — an event almost unheard of, even at a place designed to celebrate such an accomplishment.

No one knew as he was bringing out his cast, if this film was any good. What they did know was that this was a moment. When Sterling K. Brown stood on stage after his introduction, he raised one fist in the air with the the kind of conviction that Olympians Tommie Smith and John Carlos did on the Olympic podium in Mexico City almost fifty years ago. It was yet another moment where the crowd erupted into applause, and again, the first credit had yet to roll for the film. But this was a celebration. And most of black Hollywood — and notable Hollywood dignitaries — was there to witness.

Last time a Hollywood theater was this jam-packed, there was surely a lightsaber involved.

There was no bad seat in the Dolby Theater. On the main floor, people like Jamie Foxx, Donald Glover, Kendrick Lamar, Snoop Dogg, Janelle Monáe, Reggie Hudlin, Lena Waithe, Usher, Yara Shahidi, Elizabeth Banks and George Lucas sat amongst the film’s stars, which included Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker and Andy Serkis.

Lupita Nyong’o attends the Los Angeles Premiere “Black Panther” at Dolby Theatre on January 29, 2018 in Hollywood, California.

Jon Kopaloff/FilmMagic

Up in the mezzanine sat notables like dwirector Ava Duvernay, and actors like Tessa Thompson, Issa Rae, David Oyelowo, and many, many others who all gathered to watch the film they’d been waiting years for.

A Black Panther feature film was announced more than three years ago, on October 28, 2014, and since then an ever-growing fanbase — has been waiting, with bated breath for the world premiere. The film’s arrival has been the subject of hilarious memes, twitter polls and Facebook status updates, all backed up by impressive pre-sales from Fandango. Deadline reported that “after tickets went on sale Monday night, Black Panther is already outstripping Captain America: Civil War as Fandango’s best-selling MCU [Marvel Cinematic Universe] title in the first 24 hours of presales. Captain America: Civil War kicked off the opening of summer 2016 during the first weekend of May with $179M.”

Finally, that day is here — for the lucky ones. Fans crowded the red carpet before The Dolby Theatre Monday night just to get a glimpse of the cast (and their famous admirers) as they posed, and did celebratory victory laps. Per usual, with a film of this magnitude, mobile phones were bagged before anyone was allowed inside the space and placed into security bags. Last time a Hollywood theater was this jam-packed, there was surely a lightsaber involved. This crowd, of course, is most certainly the blackest premiere crowd for a film of this magnitude.

A rousing cheer went up in the theater just as the lights were dimmed, and by the time Coogler’s epic story of the Black Panther’s homeland, the fictional African country of Wakanda, was done, the applause and cheers were even greater. It’s a moment, and it’s a moment that was witnessed by some of the biggest giants in the industry.

We’re not allowed to offer up plot points or spoilers — fans wouldn’t want that anyway! — until an official review embargo is lifted: it’s set for Tuesday, February 6th at noon EST, but we can tell you that the film is quite magical. And very authentically black — both in nuanced ways, and overtly — and importantly, it’s very, very good. It falls right in line with what we’ve come to expect from Marvel productions.

And as the even luckier ones who attended the screening poured into the Hollywood Roosevelt across the street, wrists draped in hot pink bands signaling they had entrance into the intimate after party, the celebration continued. Directors F. Gary Gray, John Singleton and producer Kenya Barris were among the crowd feasting on turkey meatballs, mac ‘n’ cheese and sweet potato fries as tunes by Mary J. Blige, Chubb Rock, Bobby Brown and Bruno Marssoundtracked the night.

A long-line of well-wishers greeted Coogler — most of his family from his hometown of Oakland, CA were in attendance — and Nyong’o at one point entertained a crowd under a tent while bopping to Cardi B’s “Bodak Yellow.”

By the time Frankie Beverly and Maze’s “Before I Let Go” dropped, the party felt every bit of a backyard boogie. olks like Meagan Good and her studio executive husband DeVon Franklin were amongst the last to trickle out as the after party came to a close around 1:30 a.m. And even then no one really wanted to go home and end the night.

The film will finally be released on Feb. 16th — in the thick of Black History Month — and just about everyone in attendance is eager to see how well the film will be received by a large, general interest viewing audience. But if Monday night’s premiere was any indication? Well, in the words of a Kendrick Lamar song that felt every bit a theme of the night’s festivities, “we gon be alright.”


‘Black Panther’ director Ryan Coogler got ready for his high-intensity life on the gridiron In high school, one of the director’s toughest battles was against Marshawn Lynch

As wide receiver, a lot of times you run routes where you can’t even see the ball. You just got to hope that it’s there when you turn your head. You got to trust your teammates to do their job. You’ve got to trust that the lineman is going to block. You’ve got to trust that the quarterback is going to have the right read. And then when … the ball is in the air, you got to catch it. All those things, when it comes to filmmaking? It’s direct preparation.
Ryan Coogler, director, Black Panther

Monday night is game time for Ryan Coogler. There’s a great deal at stake — and he knows it. The director/co-writer of Black Panther is finally showing his masterpiece to friends, cast members, taste makers and a few critics at the much-anticipated Hollywood premiere of his long-awaited film.

Coogler likely hasn’t felt this much pressure since he went up against Marshawn Lynch in a football game during his junior year in their Oakland, California, hometown. “I played against a lot of dudes that were really, really good,” the director said. “Marshawn was probably the best.”

But Monday night? It’s time to put points up on the board. Again.

In this new film, we are transported to the fictional land of Wakanda — and go deep into the story of the Black Panther, portrayed by Chadwick Boseman. But Coogler’s own origin story is one for the history books, as well. “A lot of kids struggle. Somebody asks you who you are, man, you got to be something, ‘Are you in the streets? Are you an athlete? What are you? Growing up, it was always one of those two things,” Coogler said. “My father worked at juvenile hall. It would have broke his heart if I’d become that.”

Ryan Kyle Coogler grew up in Bushrod, which when he was growing up was a well-known predominantly black neighborhood in North Oakland. There was a parks and rec center that served as a gathering place for young people to participate in sports and other activities. “I started school … when I just 4,” said Coogler, 31. “I was doing fine academically, but I was having a tough time because I was smaller than the other kids. I got picked on … because I didn’t fit in. There’s a big difference between a kid at 4 versus a kid who’s 6. So I was dealing with that.”

But Coogler’s life was blessed. His mom Joselyn was a community organizer, and his dad Ira was a juvenile hall probation counselor who had played youth and prep football. Both parents were educated at California State University, East Bay, back when it was known as California State University, Hayward. But his life wasn’t a reality for many of his neighborhood friends. “Where we were living … there were kids that were on Section 8,” Coogler said from his office on the Disney studio lot. “There were housing projects … right behind us. I would play with those kids, but I would get teased … because I went to a nicer school. I had both parents in the house. So, I didn’t really fit in.”

“I was a physical kid. I had a lot of anger issues … I wanted to find somewhere where I could fit in. And football provided an outlet … ”

And back then, his part of North Oakland didn’t really have a youth football team. At the age of 7, he ended up trying out for the nearby Berkeley Cougars because he thought the name was cool, and because it was a different team than his dad played for. For the young Coogler the team felt like home. Almost immediately. “I was a physical kid,” he said. “I had a lot of anger issues. I would get picked on, so I would fight a lot. I wanted to find somewhere where I could fit in. And football provided an outlet for both of those things.”

Football gave Coogler some balance. “I remember stepping on the field for the first time in Berkeley … it was one of the first moments where I was like, ‘Yeah, my life has changed.’ I found something that I’m good at, that I actually like, that I can look forward to. I felt like I belonged.” Coogler stuck with the sport, becoming captain of Saint Mary’s College High School Panthers, where he also excelled in track and basketball.

He was a standout student who had dreams of studying chemistry and going to medical school — if a professional football career didn’t pan out. By the time he hit his senior year in 2003, he was being heavily recruited by schools such as Harvard, Princeton and Penn — his academics were on point.

“He’s our head coach on every production. It starts with him and it trickles down. He gives you the feeling of trust.”

“I wasn’t tall enough, or fast enough … to really get Pac 10 offers,” said Coogler, who played wide receiver. “I came close, but I wasn’t good enough to get those rides. I got injured my senior year … missed a few of those key games. I actually ended up coming back to play against Marshawn our senior year, which was a great game.” He said it’s one of his fondest memories from high school. “We ended up tying.”

Bob Solorio/Sacrament State Athletics

Coogler loved Penn, but got a full scholarship to Saint Mary’s College of California. “I could still be close to home,” he said, “and Saint Mary’s College, they’d just hired an African-American coach, which is a big deal to me.” Also at the time, Derek Mason, currently head coach at Vanderbilt, was the defensive coordinator at Saint Mary’s. “He was an incredible coach, man … I really admired him. I admired working with him, and thought he was so sharp.” Once in Moraga, California, though, the balancing act of being student-athlete kicked in.

“It was crazy hard. We were practicing all the time. I ended up playing as a true freshman, so I was having a tough time my freshman year dealing with the labs, and all of the crap that was coming with chemistry. My grades were suffering, so I was coming to the stark realization, ‘Man, I probably can’t do this major and be a football player.’ It just wasn’t going to work out,” he said.

A buddy of his was majoring in accounting. “He was like, ‘Man, switch up to this business school major, you don’t have to take these crazy labs. And you can still have a good career for yourself.’ So, I already was thinking of changing majors … and then we had to take a creative writing class at Saint Mary’s. That’s where I met Rosemary Graham. She read one of my assignments, and said, ‘I think you should write screenplays.’ That was how I realized that I had a talent for writing, and I realized, maybe I want to find out how to make movies.”

It was 2004, though, and something major happened that shocked everyone on his team — the school decided to drop the football program.“Devastating,” Coogler said. “I realized how little control you have over your life as an athlete.”

Coogler didn’t have to sit out. Because the season was good, and because, as he says, he “had some really decent takes against a real good opponent,” he ended up being recruited again. New Mexico State, Brigham Young University, and Sacramento State were the schools that came calling. He ruled out New Mexico State because they wanted him to play defensive back — when he was at Saint Mary’s, he played receiver, defensive back, and he returned kicks.

“I realized how little control you have over your life as an athlete.”

Brigham Young wanted him to return kicks. But Sacramento State worked best because it was close to home, Coogler is tight with his family and he would still get to be near his two younger brothers, Noah and Keenan. It was a good move for him — in his four years there as receiver, he grabbed 112 receptions for 1,213 yards and six touchdowns.

Yet, it wasn’t all about football. “Sac State had some interesting film production programs, too. I majored in finance … and took some of those film classes,” he said. But it was football that disciplined Coogler. The sport taught him how to deal with negativity. It gave him confidence, and a fulfillment like nothing he’d ever experienced.

Until Hollywood.

It didn’t take long for Coogler to find something else that fed him the way football did. Exactly 10 years after he left high school — where he’d been elected to the homecoming court and won Best Smile and Best Physique — a new game plan kicked off.

It was in 2013 when his debut indie film Fruitvale Station, won both the Audience Award and Grand Jury Prize at the Sundance Film Festival. The film was the story about the last day in the life of Oscar Grant, the young Oakland man who was killed on New Year’s Eve in 2009 by a Bay Area Rapid Transit officer. His story was brought to life by actor Michael B. Jordan, who, before this moment, was likely best known as Vince Howard in NBC’s Friday Night Lights, and of course as tragic corner boy Wallace from The Wire.

“Ryan’s the truth. He’ll never say it. He doesn’t like compliments that much, and he’s real low-key and humble, but Ryan, athletically, he was a stud,” said Jordan, who has become a frequent collaborator with Coogler, most recently on their successful reboot of Rocky with 2015’s Creed. “He played with Marshawn Lynch in college — not on the same team, but against each other. [And] he holds some record at Sac State. Ryan’s that guy!”

“ ‘Are you in the streets? Are you an athlete? What are you?’ Growing up, it was always one of those two things.”

Coogler also is quite competitive on set, Jordan said, laughing because they’ve waged bets on foot races and wrestling competitions while working on films together. “He’s our head coach on every production. It starts with him and it trickles down. He gives you the feeling of trust,” said Jordan, who portrays a villain in Black Panther. “If he tells me to run through that wall, it ain’t gon’ hurt, I’m going to believe him. I’m going to go right through it. There’s something about him that makes you want to follow him as a leader. That’s superimportant as a director.”

And now, perhaps, here’s Coogler’s biggest moment. He’s co-written and directed one of the most anticipated films of the year — a predominantly black film with a Marvel-sized budget and Marvel-sized expectations. The pressure is real.

And Coogler is a perfectionist who knows what’s on the line. If this film does what nearly everyone is expecting it to do — a box office stunner that’s well-received critically and paves the way for other such films to get the greenlight — then a major shift in Hollywood is on the horizon. A lot of eyes are on him, but he’s keeping his cool — for now. Because football taught him how to do that.

“A lot of the things I’ve learned, I learned from playing football. You gotta lead a group of people against sometimes insurmountable odds. Every week, you’ve got to prepare for an opponent. You watch game tape. You prep. You get all your players up. But you get out there, you never know what to expect,” Coogler said. “I’m 31 years old … this is a high-intensity job. You’re responsible for a lot of money. You’re responsible for a lot of people’s livelihoods, and more importantly, you’re responsible for the audience’s dreams and expectations. There’s no way I’d be able to do this job if I hadn’t had the experience I have from playing organized sports. I’d be a different person.”