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The “Black Panther” narrative allows Black women to be both angry and tender, both strong and vulnerable, both independent and interdependent on each other and those around them.

[This essay contains spoilers for Marvel's “Black Panther”] “Black Panther” is not your typical superhero blockbuster. It's a political epic, it's Black as fuck, it's critical of white supremacy, colonialism, and imperialism, and it delivers a monumental story about the tension between Black Americans and continental Africans. Setting up a battle between young King T'Challa (Chadwick Boseman) and N'Jadaka (Michael B. Jordan), nicknamed Killmonger for the many lives he seemed to enjoy taking during his time as a CIA operative, it tells this story in a way that subverts expectations about both Blackness and Africa on film. What it also does is magnify the Black women within the story, and that is something that should not be considered secondary to its other achievements, because the Black women of “Black Panther” are central to its narrative and ultimately determine the direction that it takes. Not only are Shuri, Okoye, and Nakia each integral to the plot, driving the story with their actions, voices, and decisions, but their characters also provide positive, determined, and humanized images of Black women and girls. These are characters who are multifaceted, imperfect, capable, intelligent, and authentic. I see myself and the Black women and girls that I have the privilege of knowing reflected in the characters of “Black Panther,” and that, unfortunately, is something that I cannot say often enough about Black women in media. [caption id="" align="aligncenter" width="610"]Image result for nakia okoye shuri Okoye (Danai Gurira), Nakia (Lupita Nyong'o) and Ayo (Florence Kasumba) in Ryan Coogler's "Black Panther".[/caption] After last year's “Wonder Woman”, I contemplated the trend of “feminist triumph” in mainstream U.S. action films as an achievement largely for and about white women. Essays, think pieces, and manifestos flooded the internet to celebrate its apparent feminism after its release — with one even marveling at the fact that Diana's thigh apparently jiggled — in the same way that countless articles were written to praise the feminism of Imperator Furiosa and the women of “Fury Road" and Rey of “Star Wars: The Force Awakens” and several other actions films of years past. In these roles, white actresses portray characters who are larger-than-life, innovative, and unapologetically badass. Now, “Black Panther” finally makes a way for this triumph to be realized for Black women, and it does so in ways that extend beyond the strength granted to the individual women, because the ways in which the women of “Black Panther” are celebrated highlights the differences in social understandings of white womanhood and Black womanhood. Historically, being “strong” has never been a point of “feminist triumph” for Black women. We have and continue to face stereotypes of hyper-masculinity and animality, while white femininity has largely been viewed as delicate and docile. For white women, strength is something that expectations of white femininity have never afforded them, and the strength given to heroines like Wonder Woman can be used as a means to subvert the infantilizing expectations of white womanhood. Conversely, the “Strong Black Woman” stereotype goes hand in hand with the “Angry Black Woman” stereotype, and has been used as a convenient excuse to impose superhuman expectations on us, abuse us, gaslight us, and police our emotionality. The “Black Panther” narrative instead allows Black women to be both angry and tender, both strong and vulnerable, both independent and interdependent on each other and those around them. Among this long and distinct history of harmful stereotypes about Black womanhood is the phenomena of colorism and anti-Blackness, both in the media and in our lives, that is especially apparent in the way that dark-skinned women are treated in Hollywood. Light-skinned Black women are granted more visibility and often better roles that do not utilize the kind of misogynoiristic stereotypes that dark-skinned Black women are frequently limited to. This is especially limiting for older and/or fat Black women, who are at once recruited to play “Mammy” characters and also routinely mocked by Black men in drag and fat suits for “comedy.” One of the most significant aspects of this film is the celebration and normalization of seeing dark-skinned Black women front and center, as the heroes, the masterminds, and the love interests. Wakanda has been able to thrive untouched by white colonialism and its imperialist violences, its anti-Blackness, its body terrorism, and its gender violence through sexual and reproductive violations. White aesthetics and beauty standards are not dominant within its society, and therefore, it is Black aesthetic and beauty and African tradition which are respected. This is apparent in the presence of dark skin as well as in the abundance of natural Black hair and traditional African hairstyles. I cannot express how important it is for Black women and girls to see these things celebrated. Image result for Black panther gifs

The labor of black women is still being usurped without proper credit, and certainly without any reward.

The “Black Panther” movie is slated to be the biggest thing in Black America since Barack Obama’s first inauguration. Never before have there been so much blackness in a blockbuster film, a major comic universe film no less. The preview this week is getting rave reviews. Ryan Coogler and Marvel have a hit on their hands. Which makes it baffling as to why a black woman who was pivotal to introducing the world to the story world beyond the main character was not invited to the preview of the movie. Actually, it’s not baffling. The act is disappointing. It is just more proof of how the labor of black women is valued much more than the woman herself. https://twitter.com/rgay/status/958183880950923265 https://twitter.com/BonjourEve/status/958216064009166848 Roxane Gay wrote the "Black Panther" spin-off, “World of Wakanda”, a series about the army which backs Black Panther and secures the nation he governs. Gay turned the series into the first black female LGBT comic, complete with a romance amongst the characters. She did so without compromising the group’s bad-ass quotient, making the action-packed comic a huge breakthrough for intersectionality in the MCU. Marvel cut the comic mid-2017, citing low sales. This is despite the growing interest in the Black Panther film that will release in less than a year and a lackadaisical advertising budget for the comic from its onset. The comic debuted with more than 57,000 copies sold but was down to around 14,000 six months later in April of 2017. Instead of letting the franchise ride on the growing interest in the upcoming film, Marvel pulled the book. Gay’s skilled writing had made its mark, however. Her books took readers into the world of the all-women army, Dora Milaje, and their skilled security of the nation that the Black Panther originated from. Her comics opened the franchise to BIPOC in ways that the Black Panther comics never could — centering black women in the protector roles we often end up shouldering in the real world. It was also a story that showcased a same-sex romance in a militaristic setting without being too “preachy” about the social implications — something Marvel comics is still notorious for. Their superheroes are well-known for tackling social problems but in the manner of the after school specials that the networks peddled in the 80s.
Related: BLACK WOMEN AREN’T BOYCOTTING “BLACK PANTHER” BECAUSE OF MICHAEL B. JORDAN’S ALLEGED GIRLFRIEND

Stop believing what other people have to say about Black women, and start believing what Black women have to say about ourselves.

This week, rumors about actor and heartthrob Michael B. Jordan's alleged new girlfriend — Latina Instagram model, Ashlyn Castro — began to take root. Almost immediately after, news of a boycott against "Black Panther" appeared, supposedly led by Black women (but we didn't get that memo). Not a boycott of Michael B. Jordan or any of his other upcoming projects. Just "Black Panther", which is currently everybody's favorite Black power emblem. In this narrative, Black women quickly became traitors to our race, thoughtless and trivial. Our imagined lack of support for "Black Panther" translated very easily into a lack of support for Black men altogether, and this was used as a justification for the misogynoir that ensued. First of all, the sheer ease and momentum with which this wildfire rumor spread is proof enough for me that some people simply cannot wait to talk shit about Black women. All they need is a reason to air their already long or deeply-held misogynoir, whether or not that reason is based in any truth. The "Black women are boycotting "Black Panther" because Michael B. Jordan is dating a non-Black woman" hoax of 2018 was a pathetic attempt to make Black women appear bitter and paint us as irrational and irresponsible, unfit to make decisions about the media we consume — an old song that also plays during conversations about Black women's love for "Scandal" and disdain for "Birth of a Nation". The beginnings of it rest on misogynoir as much as the public’s willingness to believe in it does. Created by a known troll account on Instagram, ground zero of the fake "Black Panther" boycott effortlessly built its narrative around a familiar stereotype: Black women become irrationally angry when Black men date people of other races, especially white and white-presenting women (I'm sorry this discussion is so cisnormative and heteronormative). This is a belief that continues to grow more and more, with less and less context in each evolution. Even Jordan Peele's "Get Out" dipped its toe in this flavor of misogynoir when Chris Washington (Daniel Kaluuya) insisted to his girlfriend, Rose Armitage (Allison Williams), that the most likely reason for Georgina’s (Betty Gabriel) apparent coldness towards him was because she did not like the fact that he was in a relationship with a white woman. He had no evidence to support this claim when Rose questioned it, except to flatly say, “It's a thing.”
Related: THERE’S AN OFFICIAL BLACK PANTHER JEWELRY LINE, AND IT’S DOPE AF

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