Letitia Wright Explains Black Panther’s Cultural Importance

by  in Movie News Comment (3)
Letitia Wright Explains Black Panther’s Cultural Importance

Ryan Coogler’s Black Panther was one of the biggest hits of the year, with its cultural significance driving many to buy tickets and raise money to help children go and see the movie. Actor Letitia Wright, who plays Shuri in the Black Panther and Avengers: Infinity War, has now commented on the cultural significance of the film and the reaction she’s seen to it.

“I have young girls and women come up and say to me, ‘Hey, this is a new kind of representation for us. We’re not in a film where we’re inferior, or we’re below the men, or we have to be just the object of someone’s affection. We’re equal. We can hold our own,’” Wright told Deadline. “Everybody holds their own space in this film.”

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“I feel like there was such a need for it in our culture,” she continued, “there was such a need for it in our industry, that when we got it, we grasped it and we ran with it.”

Wright also talked about her early impressions of the script saying, “From the sides alone, the dummy sides that they sent me – to fake the script, so it doesn’t get leaked – I could tell that the women in this film were going to be represented correctly… And from the jump, we had just a love for this story. It wasn’t about box office, it wasn’t about trying to impress anyone. It was literally just a love of telling this story and putting a spin on what we’ve seen of the diaspora of African people. Just bringing something different.”

Black Panther opened to critical acclaim and earned more than $1.3 billion worldwide, making it the ninth highest-grossing film of all-time, not accounting for inflation. Although T’Challa seemingly died following Thanos’ snap at the end of Avengers: Infinity War, Shuri survived, so it seems likely she’ll play a significant role in Avengers 4. Coogler was recently confirmed as returning to write and direct a sequel to Black Panther.




Sheree talks about how important women of color filmmakers are today and how her social media platform is cultivating a network to support them.


Sheree Ross is an award winning screenwriter, director, and author.  She is currently the founder of WFOC Media – a growing and popular aggregate news social media platform for and about women filmmakers of color.  Sheree has served on the board of Scriptworks, a playwright-driven service organization and theatrical producing company, The Higher Power Foundation – serving spiritual education and growth, and is currently Board Chair of Torch Literary Arts, working to cultivate a network that supports the work of black women and girls through creative writing.
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Omision is a way of deleting our stories

The true story of “Spotlight” and the queer woman left out of the film

on March 2, 2016
This year’s Oscar for Best Picture went to Spotlight, the true story of a group of editors and writers at The Boston Globe who reported on the attempted covering up of sexual abuse within the Catholic church. While the film was well-written and expertly acted (winning Best Ensemble at the Independent Spirit Awards, among others), it turns out that this “true story” is not as honest as has been portrayed. Specifically, it completely left out queer news editor Susan Ryan-Vollmar of The Boston Phoenix, where the real investigation began with her reporter, Kristen Lombardi.

photo via FacebookAs Btchflks reports, The Phoenix was the first to tackle the case of the sex-offending priests, but the film doesn’t credit them at all.

Tom McCarthy, the co-writer and director, did interview Lombardi as research for the script, but he decided her role wasn’t important enough to include in the final cut of the film. Instead McCarthy decided to focus on white-guy, mainstream newspaper mythology, and that focus not only makes the film untrue, it renders it dramatically inert.

In 2012, Susan penned a letter to air her grievances with the Globe‘s taking credit without any hat tip to the Phoenix and their original reporting. She notes:

The Globe’s work on this story was phenomenal, and they deserve perhaps 90 percent of the credit for blowing the sex abuse story wide open. But they continue to insist on taking 100 percent credit. Not only does the Globe today fail to credit former Phoenix reporter Kristen Lombardi’s work, but it seems to take credit for the swarm of other stories on clergy sex abuse that popped up around the country.

She also shared this comment with Boston Magazine last year:

Until the Phoenix’s reporting, no Boston outlet had pulled together the full extent of the horror taking place within the Boston Archdiocese: Law’s knowledge of the abuse and his decision to keep pedophile priests employed, and the fact that it wasn’t the case of one bad priest, but many. The Phoenix’s reporting was so solid and convincing on these points that the Boston Herald took the extremely unusual step of calling for Law to come clean in an editorial, and cited the Phoenix reporting in its piece. The late David Brudnoy did the same on his well-regarded radio show. To say that Kristen’s reporting merely raised suspicions without proving anything shows a rather astonishing level of ignorance about her work.

Rachel McAdams, Mark Ruffalo, Brian d’Arcy James, Michael Keaton and John Slattery as “Boston Globe” journalists in “Spotlight”


Susan also reported on issues relating to the church and the backlash it faced after the Globe‘s pieces (as highlighted in Spotlight) enlightened the public to what was going on with their local Catholic Archdiocese. In a 2006 story, she wrote:

It was one thing to edit the Phoenix’s coverage of the clergy-sex-abuse scandal as a Catholic. It was something else to edit the paper’s coverage of 9/11 as, well, an American. But it was another thing entirely to direct the paper’s coverage of the story of same-sex marriage in Massachusetts. For me, a lesbian raising a child with my partner of 20 years, the story of Goodridge v. Dept. of Public Health was personal in a way the clergy-sex-abuse and 9/11 stories weren’t. I was deeply engaged — and enraged — by the first two stories. But the story of same-sex marriage in Massachusetts changed my life.

Since leaving the Phoenix, Susan worked as the editor of New Engladn’s LGBT publication, Bay Windows, and has even contributed to the Globe, including a piece last summer on how American policies on LGBT rights directly affects how LGBTs are treated in other nations. Susan now works in consulting and has worked with several LGBT clients including the Family Equality Council, GLAD, and MassEquality.

Is Spotlight a great film? Yes. But does it oversimplify the events of what really happened and fail to credit two women who played a large part in the ultimate take down celebrated in the Oscar-winning piece of, ultimately, fiction. Considering there is only one woman in the final product (played by Rachel McAdams), it seems like one giant missed opportunity.

Source of Article AfterEllen

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