Why these Carr-Hunter discussions are growing in popularity. Look how Dr. Carr links Chadwick to: a) Black playwrights, b) Black bookstores, c) Black protest, d) to Black cultural development. And then e) THOTH!
You were the most unheralded parts of my happy childhood absorbing Lee-Kirby!
Attention, writers: three years is a long time to write these books:
- We need a serious media studies criticism book on the film phenomenon–how and why it happened, from both popular culture and propaganda-study perspectives, detailing Disney’s very detailed plan for worldwide mind control through eye-candy. The Disney-Sony dustup over Spidey would be an excellent coda.
- We need a book about the Africanisms of the film. Here’s where you would start.
- We need at least one more book about the history of the character in the comics: the 1988 miniseries, his leadership in and of The Illuminati, The Ultimates, The New Avengers and, in 2018, The Avengers itself have yet to be explored. There is a brand-new ongoing Black Panther comic, just out tomorrow, where T’Challa forms his own SHIELD-like team. (Sadly, the team has a primate on it and Marvel’s answer to Tarzan, Ka-Zar; let’s hope Black Twitter is paying attention. 🙂 ) This is historic because it’s the first time T’Challa has had more than one ongoing comic.
- We need a book on the history of African superheroes/mythological heroes, those created by Africans versus those created by non-Africans.
“Spider-Man 2” from 2004 (the powerfully ballooned version of “Spider-Man,” vol. 1, no. 50, “Spider-Man No More”) is this writer’s gold standard of “Spider-Man” films. Although “Spider-Man: Far From Home” was extremely effective, it didn’t reach that mark. It got real close, though. Then came the first post-credit sequence. That mere two minutes blew theater-goers’ minds and blew “Home” into “Spider-Man 2” territory. It was so shocking that the film’s second post-credit sequence, a somewhat surprising one to a Marvel (Comics) Zombie and completely perplexing if one is just a Marvel movie fan, almost fell flat. Which is quite an accomplishment for Marvel, a studio that, before this film, was criticized for making movies with plots that don’t move characters forward, action without real stakes and filled with heroes who face no consequences. No more, indeed. Wow, wow, wow.
How do you mess up the same story twice? How do you make arguably the best X-Men story ever into mediocre entertainment 13 years after the same producers/writers/directors did it the first time? Simple: throw the comicbook story away because, like Batman-movie-killer Joel T. Schumacher or, even better, Zack Snyder, who seemingly thought every DC movie was some sort of “Watchmen” prequel, you think your vision is more important. There’s a reason this film has been correctly savaged: after almost 20 years, critics and fans are tired of this version of the X-Men, and they are waiting for Kevin Feige to take over. Because when he does, Cyclops, Storm and Jean will stop being supporting characters to J-Law (why even bother calling her Mystique when she does nothing? To be honest, I almost cheered when Jean killed her; she should have died at least one movie ago), Michael Fassbender (Dude, change your mind about James Bond, and do one film!), and James McAvoy. The “Dark Phoenix” story is simple to adapt, as either of these X-Men animated series can show you: Jean goes out of control, and each individual X-Man(/Woman) has to search his or her conscience how to handle it. But that would require each X-Man to be a fully developed character we would actually care about. (Quiz: Who plays Storm? You don’t know, right? See??? 🙂 ) And so one of the classic 20th century superhero stories will never get its proper due. So when does “Spider-Man: Far From Home” come out again?
This epic is many things, among them a meditation of how powerful love, honor, duty and friendship can be, if among the right group of people. An extraordinary end–and make no mistake, it is an ending! Deserves its place among the greatest superhero films ever made, even if detractors will correctly point out that it’s the sequel to 21 films, one that mined all its predecessors to create a perfect-hits collection.