'Even in Afrofuturist utopias a fact of Black life is stubbornly persistent: not even our superheroes can outmaneuver death.'
came close in its unconventional depiction of spousal heartache, and its psychological aftershocks). The positioning is curious but effective. I hesitate to calla new kind of superhero blockbuster—it hasn’t totally reinvented the wheel—but it’s close. Coogler has equipped his sequel with a changed vocabulary: it speaks equally from a place of loss as it does triumph. Grief is its mother tongue.
The king is dead, and the eyes of the world are once again on Wakanda. Queen Ramonda has assumed the throne, and, in the year since her son’s passing, done her best to maintain the African nation’s standing as a sovereign power. The only known nation to have it, Wakanda remains rich in vibranium—the mystical ore used to create cutting-edge weaponry and tech—and refuses to share its resources with allies .
Namor is their wounded leader, and hell bent on keeping Talokan’s existence a secret. A mutant with superpowers to match—heightened strength, aquatic regeneration, and flight —he commands his nation with a meticulous, if forceful, hand. The mining operation threatens to expose his oceanic utopia so he devises a plan to stop it: kill the genius scientist who built the vibranium-tracking device that found it and align with Wakanda against the surface world. Wakanda refuses.
A conflict, as it turns out, that isn’t quite as persuasive as the animating principles behind it. Like the US government’s relentless appetite for global influence. Or the all-consuming rage Shuri feels from the loss of her brother, and the very-real way it drives her to action. Or how Namor’s villany, if it should even be called that, is rooted somewhere deeper, somewhere more human. He’s cut from the cloth of classic MCU anti-heroes. Like Wanda. Like Kang.
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