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In Blood Diamond, Leonardo DiCaprio’s Zimbabwean ex-mercenary utters a line that became one of those oft-heard film quotes. As a means of explaining the way things work – or don’t work – on the continent, he tells co-star Jennifer Connelly, “TIA.” When she doesn’t get his homemade-acronym the first time around, he spells it out: “This. Is. Africa.” It may have taken over a decade, but you could say Black Panther is the cinematic blockbuster retort to that. A long-awaited clap-back in the form of a roar. 
This is Africa. Yes, it’s a heightened, idealized version of it — where vibranium, not diamonds — is the major resource. Yes, it’s called Wakanda, and is a place built out of the pages of Stan Lee and Jack Kirby’s comic books. Yes, it exists within the fictional Marvel Cinematic Universe. And yes, most of it was filmed in Atlanta in the US. But make no mistake. This. Is. Africa. 
This is Africa – a multifaceted, exhilarating place that hardly gets the kudos it deserves onscreen. Not until now, not until Black Panther. As a South African, I was giddy with little squeals of excitement each time I heard Xhosa being spoken by the characters or recognized an item of clothing. It’s because for so long, when Africa has been represented onscreen, a simplistic view has usually been shown. Poverty over potency. When attempts have been made to change the portrayal of Africa onscreen, more often than not, shortcuts are usually taken. I will love Morgan Freeman forever, but even he battled with pronouncing the Rolihlahla of Nelson Mandela’s name in Invictus. In Black Panther, the clicks and accents of Xhosa are there. The effort to be authentic is there. It’s in the “eish” that Lupita Nyong’o utters when T’Challa interferes in her mission. It’s in the “Nkosi” uttered by the women in moments of hardship. 
It’s in the Basotho blankets that are held up as shields in battle. It’s in the gold and silver Ndebele neckrings the Dora Milaje wear. It’s in the casting of legendary local actors John Kani and Connie Chiume as elders.  
In director Ryan Coogler’s Black Panther, this is Africa. Where scientists and shamans live side by side; where spiritualism and technology can co-exist.
Where world music’s elder statesman Baaba Maal and the Gqom Queen Babes Wodumo share space on the music credits. Where trap music can play in the background of one scene, and then traditional drum-beating in the foreground of another. Where Kendrick Lamar can curate songs and Ludwig Göransson can compose them.
This is Africa – where women in front of the screen are just as important as any man, but not at the cost of their femininity. From the moment Angela Bassett, as T’Challa’s mother, enters the frame in her regal white headdress, I thought of Winnie Madikizela-Mandela, with her stature and formidability. But also her fallibility and devotion. [Side note: why have we never seen Bassett play Madikizela-Mandela?] From the instant we meet Lupita N’yong’o’s spy Nakia, we know she is her own force to be reckoned with, beyond the love she has for Chadwick Boseman’s T’Challa. And Danai Gurira’s Okoye fights and wields weapons as deftly as any army general, but she can also throw her wig in combat when the spirit moves her.
This is Africa – where Letitia Wright’s teenage Shuri, with her cheeky sense of humour, can act childish, but still knows how to program the hell out of a suit. A younger, way more stylish Alfred or Q to Boseman, if you will, but for a new generation of young girls to look up to.
This is Africa – where women behind the screen are important too. Debbie Berman, who was born in Johannesburg, edited the film, after working on Spider Man: Homecoming.
It goes without saying that Black Panther has been the most anticipated film of 2018, with pre-sale box office tickets breaking records all over the world. There is a richness to the interviews the cast members and director Coogler have been giving. There’s an electricity flowing through this film that is unlike any other. 
Leaving the cinema after seeing Black Panther at a press screening, I felt the energy coursing through my veins – like I had just taken some of the heart-shaped herb that gives T’Challa his powers. That’s what happens when you see something so exhilarating, fantasy grounded in the real, on the big screen. An experience that leaves you thrilled for what you’ve just seen unfold in front of your eyes – and ears – and for what comes next. An experience that makes you proud to say, “This. Is. Africa.” 

Pic from Entertainment Weekly.

Like many, I’ve been binge-watching Luke Cage – the Netflix series is perfect for afternoons once the long run is done. In this episode of The Rundown, I ran to some of the locations used in the show.

Also, this has to be one of my favourite scenes ever. The energy of Jidenna – he’s so compelling to watch in performing this track that opens Episode 5. Pro-tip: Long Live the Chief is also pretty great to run to!

If you want to run the route too, here it is:

luke cage map

Much has been said about the new Zack Snyder film, Batman v Superman: Dawn of Justice. It’s the dawn to a new era of superhero movies from the DC stable, so it’s no wonder there’s a lot to say. Not to mention the insane amount of money spent on the film ($250 million to make, $150 to market), and all the vested interest within it. We’ve all heard how much is riding on this to set up the DC Universe for Warner Bros, following Marvel’s roll-out at Disney. But I wonder, where to from here?
The film has already found success in the US and globally, with a hot take-home at the box office. In South Africa, it’s become the biggest opening for a Warner Bros film (but is still behind Fast & Furious 7 in terms of 3 day-opening weekend), which has been the case in the US and other countries too.
And, yes, it’s been established that numerous critics have intensely disliked it. Filmmaker Kevin Smith has just panned it too, for its misunderstanding of the characters and being too dark, a sentiment shared by many of my favourite critics. He also says there was no humour whatsoever in the film, but I actually found the reason Batman and Superman stopped their fighting to be very funny. I couldn’t stop laughing at how lame they both sounded in the dialogue that followed. This is quite sad, given it’s a moment that’s actually meant to be pretty profound and moving.
This M & M review, aside from my friend Alicia Malone’s priceless facial expressions and one word answer to it all, expresses the disappointment I, too, felt early when an interesting idea that’s set-up at the beginning of the film for the audience is not followed through, because it’s just stuffed with too much material that makes no sense as a whole.  This review from GQ is unforgiving, but not as unforgiving as this one from Film Freak Central. Batman v Superman is a film that seems to suck the joy out of believing in something bigger than ourselves, something more positive and stronger and better.
But it’s already been established that all the critical response to the film doesn’t really matter, because people still paid to see it, they want to see it and will see it, based on the characters alone. What I want to know is, what does this mean for other films? If there’s this perception that these blockbusters will do well no matter what the story-line or lack of character development, what will happen to the willingness to invest in films that do pay attention to this? And will audiences just go on to accept this? I’m not a comic book geek so I don’t know the story-lines or characters well enough (even more reason then to explain who these new people are when you bring them into the film’s world) but I do love a good superhero film – yet only if I believe in the heart behind the actions. See, Guardians of the Galaxy and The Avengers.
Who are we rooting for when that support isn’t actually isn’t earned? When the films just take for granted the built-in fan base and ride it? Does it even matter to ask out loud and want for more? I imagine these questions will no doubt be answered in the coming years – and the films they will bring with them. In the meantime, thank goodness for Wonder Woman, hey?


Hello from NYC, where I experienced the joy of being tweeted at by Orange is the New Black’s “Crazy Eyes” Uzo Aduba last night, after I realized I saw her at the NYC Marathon start line. 

Onto today’s entertainment news worth knowing...

* The Country Music Awards took place on Wednesday night, and Taylor Swift looked so sweetly delighted, as she always does when receiving an award, to be honoured by a whole bunch of artists she used to open up for and now more than likely outsells all of them. But she lost out on the Entertainer of the Year statue, which went to long-time “King of Country” George Strait.

* The Blockbuster video chain is closing its remaining stores and shutting down its DVD-by-mail business. I guess it was bound to happy, but it’s still a bummer.

* Marvel is debuting a new superhero – a 16-year-old Muslim-American girl named Kamala Khan, in a move aimed to reflect the growing diversity of its readers. Khan will be the new Ms Marvel, who lives with her conservative Pakistani parents and brother in New Jersey. Expect to start reading about her adventures early next year.

* There’ll be more American Horror Story to come – the series has been renewed for a fourth season, with Glee’s Ryan Murphy, aka ‘master television producer,’ back as producer.

* If you haven’t read it yet, Laurie Anderson wrote about her relationship with Lou Reed for Rolling Stone. RIP Lou.

Pic: taylorswift.com


As we head closer to Halloween, one of the outfits I end up seeing most on the streets of New York is that of Captain America, with his trademark shield and face mask fending off witches and zombies that appear oh-so coincidently around this time. The timing is, therefore, great that Marvel this week revealed online the poster and the trailer for the upcoming Captain America The Winter Soldier.

The official plotline of Captain America: The Winter Soldier we’re told is that Cap, aka Steve Rogers, teams up with Black Widow, to battle ‘a powerful yet shadowy enemy in present-day Washington, D.C.’

“Gear up, it’s time,” our hero, played once again by Chris Evans tells Anthony Mackie’s S.H.I.E.L.D agent Sam Wilson in this trailer. Well, it’s almost time. In April 2014 we’ll get to see Chris in his slick new costume – which I’m liking a LOT – alongside Scarlet Johansson’ Black Widow, Samuel L Jackson’s Nick Fury, and Mr Suave Robert Redford as a S.H.I.E.L.D head honcho.
For now, I’ll have to make do with the mini-Captains running around the streets.