McHale described Artie as a "nerd" who loves the glee club wholeheartedly and uses it as a form of escapism. In the third season, Artie, then a junior, directs the school musical and a television special featuring the glee club for the local PBS station. He also directs Grease along with Finn Hudson during his senior year.
That movie, the Star Wars sequel The Empire Strikes Back, introduced Calrissian as a complicated human being who still did the right thing. Every day, the culture reflects not only you but nearly infinite versions of you—executives, poets, garbage collectors, soldiers, nurses and so on.
Marks spencer essay world shows you that your possibilities are boundless. Now, after a brief respite, you again have a President. Relating to characters onscreen is necessary not merely for us to feel seen and understood, but also for others who need to see and understand us.
This is one of the many reasons Black Panther is significant.
Rather than dodge complicated themes about race and identity, the film grapples head-on with the issues affecting modern-day black life. It is also incredibly entertaining, filled with timely comedy, sharply choreographed action and gorgeously lit people of all colors. But this movie, he says, tackles another important genre: Marvel is owned by Disney.
Hollywood has never produced a blockbuster this splendidly black.
The movie, out Feb. This rapidly expanding reckoning—one that reflects the importance of representation in our culture—is long overdue. Black Panther is poised to prove to Hollywood that African-American narratives have the power to generate profits from all audiences.
And, more important, that making movies about black lives is part of showing that they matter. On display instead were crowns of a different sort—ascending head wraps made of various African fabrics. Men, including star Chadwick Boseman and Coogler, wore Afrocentric patterns and clothing, dashikis and boubous.
Co-star Daniel Kaluuya, an Oscar nominee for his star turn in Get Out, arrived wearing a kanzu, the formal tunic of his Ugandan ancestry. After the Obama era, perhaps none of this should feel groundbreaking. In the midst of a regressive cultural and political moment fueled in part by the white-nativist movement, the very existence of Black Panther feels like resistance.
Its themes challenge institutional bias, its characters take unsubtle digs at oppressors, and its narrative includes prismatic perspectives on black life and tradition. The fact that Black Panther is excellent only helps.
That Black Panther signifies a threat to some is unsurprising. A fictional African King with the technological war power to destroy you—or, worse, the wealth to buy your land—may not please someone who just wants to consume the latest Marvel chapter without deeper political consideration.
Black Panther is emblematic of the most productive responses to bigotry: The history of black power and the movement that bore its name can be traced back to the summer of The activist Stokely Carmichael was searching for something more than mere liberty.
To him, integration in a white-dominated America meant assimilation by default. In June of that year, James Meredith, an activist who four years earlier had become the first black person admitted to Ole Miss, started the March Against Feara long walk of protest from Memphis to Mississippi, alone.
On the second day of the march, he was wounded by a gunman. Carmichael, who was arrested halfway through the march, was incensed upon his release.
Supernatural strength and agility were his main features, but a genius intellect was his best attribute. Much like the iconic Lieutenant Uhura character, played by Nichelle Nichols, that debuted in Star Trek in SeptemberBlack Panther was an expression of Afrofuturism—an ethos that fuses African mythologies, technology and science fiction and serves to rebuke conventional depictions of or, worse, efforts to bring about a future bereft of black people.
He was already in charge. The revolutionary thing about Black Panther is that it envisions a world not devoid of racism but one in which black people have the wealth, technology and military might to level the playing field—a scenario applicable not only to the predominantly white landscape of Hollywood but, more important, to the world at large.
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Blaine Devon Anderson (Darren Criss) is a recurring character in season 2 and a main character in seasons He is introduced as an openly gay student at Dalton Academy and a member of The Warblers, a Sectionals and Regionals rival of New Directions.
While Blaine was initially a recurring character, Criss was promoted to the main cast for the third season.