“You are a good man with a good heart. But it is hard for a good man to be king.”
These are the deceased T’Chaka’s final words to his son T’Challa before the latter is crowned king of Wakanda, an African nation that poses as a third world country, when in reality it is one of the most technologically advanced societies in the world, thanks to the natural resource of vibranium. Throughout the Black Panther, T’Challa has a hard time accepting the contradiction of this statement: there is a disconnect between the man he is and the king he must be. As a whole, the film questions (and answers) its own permutation of T’Chaka’s proclamation: can a good superhero film have heart and explore themes of race, power and privilege, or will its genre conventions — namely CGI spectacle and quippy one-liners — reduce it to simply being blockbuster entertainment? Black Panther shows that the two can be harmonious; Ryan Coogler’s film is at once a celebration of blackness, a sobering analysis of the responsibilities and obligations that people of privilege and power have and a dazzling superhero film in its own right.