Tuesday, December 6, 2022

Black Panther: Wakanda Forever

Third World War
or
"A Colonialist in Chains...Now I Have Seen Everything"
 
When last we left (and, I'm sure, regretfully) Wakanda, they were ending their fearful (if understandable) isolation and establishing an outreach program into the wider world, no longer hiding in plain sight, sharing their culture, their knowledge, but not their wonder-mineral vibranium. The world is not ready for that (although they continue to try to possess "by any means necessary").
 
Black Panther: Wakanda Forever begins with the acknowledgment that its MVP, Chadwick Boseman, who has played "The Black Panther" in all the previous Marvel movies, is dead. Much tribute is made, deservedly, but the most important thing the movie does right off the bat is to say that the actor (and the character) are irreplaceable, too irreplaceable to even try. In a movie industry where actors are replaced with the drop of a salary demand or a controversial tweet (and a genre that is still trying to come to grips with multiple actors playing a single character), this is refreshingly noble. And rare. Already, the movie re-establishes that air the original had of being a labor of love rather than a labor of commerce. 
King T'Challa, the former Black Panther, protector of Wakanda, has died of an unspecified disease. The country mourns the loss, but none more than T'Challa's sister, Shuri (
Letitia Wright), princess and technological whiz-kid, who only knows that for all her brilliance and skills, she could not save her beloved brother. Now the kingdom is ruled by Queen Ramonda (Angela Bassett) with no protector, no Black Panther, but the more-than-capable army of the Dora Milaje, led by General Okoye (Danai Gurira). She's going to need them. At a United Nations meeting, she is pressed by the U.S. (Hey, Richard Schiff's in the Marvel Universe!) and France to share Wakanda's resource of vibranium, which she steadfastly refuses.
She gives them something else, instead. A big lesson in "Don't Mess With Me." The entrance opens and Okoye and her troop bring in some French soldiers who had tried (unsuccessfully, of course) to steal some vibranium. Ramonda lays down the law. Nobody is going to get the stuff for its potential for weaponry. If anybody tries it...well, they better not. Wakanda's memory is also forever.
They're not alone in that. The U.S. is trying to get their own vibranium deposited deep in the Atlantic Ocean, with a new device that detects the stuff. But, before any extraction can be done, there's an attack on the ship where the crew inexplicably jump like lemmings into the sea, impelled by a strange sonic attack of an unknown origin, and a helicopter attempting to escape is grabbed and thrown to a catastrophic end into the sea. Was it Wakanda? How? Even Wakanda doesn't know.
The answer comes from the sea. While Ramonda and Shuri are holding a private ritual ending their mourning by burning their ceremonial white robes, they are approached by a human rising from the water with wings on his feels and fire in his eyes. He is K'uk'ulkan or Prince Namor (
Tenoch Huerta) of the undersea kingdom of Talokan and he loves what they've done with the place (the water is so clean! And the air is so fresh!), but not so much in his neck of the ocean, so he warns them. His people have stopped another attempt to take vibranium—this time from the ocean floor with a device that is specifically designed to detect it. As it is Wakanda's responsibility to police the mining of the stuff, they'd better get a handle on it, especially in his territory of the sea. If they can't, he'll see to it personally and with less restraint. His first aim is to find the person who created that vibranium detector and if Wakanda doesn't hand them over to him, he's not willing to wait and he'll take action against the people responsible and Wakanda, as well.
Okoye and Shuri contact their "favorite colonialist" Everett Ross (
Martin Freeman), who knows who made that vibranium detector. She is MIT student Riri Williams (Dominique Thorne), who apparently has the "McGyver"-like ability to make a flux capacitor out of scraps taken from your recycle bin. Not only did she make that detector, but she's working on her own "Iron Man" suit because...well, MIT must have a liberal extracurricular activity program. But lousy security. When the two Wakandans contact Riri, they must first get by a raid by the FBI and then the Talokans, who take Shuri and Riri captive.
Queen Ramonda is furious with this. She demotes Okoye of her rank and then sends for Nakia (Lupita Nyong'o), former Dora Milaje and War Dog spy to infiltrate Talokan and rescue the two scientific geniuses who can't seem to rescue themselves.
Well, it just gets more complicated from there. Ultimately it turns into a war between third world countries, tribe against tribe, while both should be looking at the real threat, which is the supposedly industrialized nations (although they pale when compared to Wakanda) trying to get their empirical mitts on the resource the two warring factions share. It seems to be a case of not keeping your eye on the vibranium ball, but that's what happens when things get personal. You lose the big picture when you're the target of the attack.
But, as frustrating as that is—and aren't all wars fundamentally frustrating?—one must acknowledge the complications. Coogler displayed in the first Black Panther a penchant for world-building that went beyond decor and here, he does the same sort of thing for the Talokans (in a way that seemed to escape the DC Aquaman movie), creating a murkier version with more natural materials, and enough back-story to create the grudges necessary to sell the thing.
But, more than that, this movie is a bit of a miracle in that, even if it isn't as artistically successful as the first Black Panther movie, it is successful enough without its lynch-pin title character present (and its charismatic lead actor irretrievably absent) and, instead, depends on the superb supporting cast that enriched its predecessor. Imagine a Batman movie without Batman. Nope. Not gonna happen. But, Black Panther: Wakanda Forever is engaging even without a Black Panther character for the majority of its running time (consider that a SPOILER alert). I can't imagine another film franchise that would be able to pull that off and get away with it, let alone excel in its own way. 

As these super-hero movies start to merge together and become indistinguishable from one another, that is a remarkable accomplishment.
Wakanda forever!
 

 Prince Namor ("The Sub-mariner") has been around since 1939

 

Sunday, December 4, 2022

Don't Make a Scene: The Laundromat

The Story: Two grifters explain basic economy to you.

And not just money. The absence of money. Who knew that the absence of money was just as important as money? As happens every ten years or so, the American economy goes through some sort of slump, so if you want to save for a rainy day, you'd better have a lot of money or a good meteorologist. Because in order to keep the gears going, you need money. Absent that, you need the promise of money. Which isn't real and promises can be broken.

And so can economic systems. And governments. Ways of life.

All for something that isn't real. Really.

Steve Soderbergh's The Laundromat is one of those rarities—an anthology film—inspired by the revelations of The Panama Papers, documents leaked by a whistleblower showing the invisible strings of promises and absent money all funneled through a business address which was just a mail-box for 214,000 shell companies to avoid taxes and governmental sanctions. I'm sure there's a lot of Russian money going though the eyes of such loop-holes right now.
 
But, the true lesson of economy is value. Nothing is worth anything unless it is valued, be it money, bit-coin, oil paintings, luxury cars, even movies. Without gold backing it up, money is just paper. And coins? Just minerals without the gold hiding behind it.
 
And our tour-guides here, Jürgen Mossack and Ramón Fonseca, they're real people (portrayed by actors, who metaphorically leave destruction in their wake), who quite blithely made a mint...until they got caught. So, what they have to say may be of some value.

Or, perhaps, it isn't worth anything.
 
The Set-up: There is no set-up. This is the start of the movie. In fact, you could say this is the set-up itself. And now, here are your guides, Jürgen Mossack (Gary Oldman) and Ramón Fonseca (Antonio Banderas), both formerly of the firm Mossack Fonseca.
 
Jürgen Mossack
:
First of all, there are some things you should know before we begin. For instance, we are real people, just like you. 
Ramón Fonseca
:
  Secondly, we did not write a word of this. To be perfectly frank, we would have preferred all of this remain a secret.
Jürgen Mossack
:
But we had no choice in the matter. We just woke up one day and everything changed. 
Ramón Fonseca: There were stories about us everywhere: TV, newspapers, and the internet. 
Jürgen Mossack: And now it is our turn to tell a few stories. Think of them as fairy tales that actually happened. 

Ramón Fonseca
:
Don't worry, these stories are not just about us. They're also about you. 
Jürgen Mossack: And how is that possible? 
Ramón Fonseca:  Because all these stories are about money. 
Jürgen Mossack: The idea of money. The necessity of money. The secret life of money. 
Ramón Fonseca:  Before money, there was only the barter system. You tried to trade what you had or you could do for what you needed. You have bananas, but you need a cow. 
Ramón Fonseca
:
  I have a cow, but I hate bananas. So, as you can imagine, there was a limit to this system. Bananas turn brown over time and cows can, you know, wander away. 
Ramón Fonseca
:
  So an agreed-upon medium of exchange was needed. 
Jürgen Mossack
:
What is a medium of exchange? Well, it could be a... a nugget of gold. 
Jürgen Mossack
:
Or some other shiny rocks that are generally found to be scarce. It could be a... 
a slip of paper - with words on it... - Aah! Or pictures of powerful people.
And if you read those words, you will see that they are arranged into a promise of value.
Jürgen's cell phone pings

Ramón Fonseca:
  Slips of paper... 
Ramón Fonseca:  Which you cannot peel and eat, and do not give milk are what we all agreed to call "money." 
Ramón Fonseca:  And these slips gave birth to many other pieces of paper with more writing on them.
Jürgen Mossack: And some of those words, they told the story of credit. 
Ramón Fonseca:
  Oh, stay with us now, this is important. 
Jürgen Mossack
:
Credit is an invention that meant you no longer needed to carry around, uh, millions of bananas on slips of paper.
Ramón Fonseca
:
  So, you now have something invisible, credit, 
Ramón Fonseca
:
  ...standing in for something tangible, a cow. 
Jürgen Mossack
:
Credit said that even if you didn't have all the bananas you need for what you want, you could borrow bananas from the future. 
Ramón Fonseca
:
  So, credit is just the future tense of the language of money.  
Jürgen Mossack
:
Speaking of the future... 
Ramón Fonseca
:
  Uh, things have gotten a little more complicated.
Ramón Fonseca
:
  Actually, a lot more complicated. 
Jürgen Mossack
:
There is more money than ever before. 
Ramón Fonseca
:
  Our money has more names than ever before. 
Jürgen Mossack
:
Commodities, loans, stocks, and bonds. 
Jürgen Mossack
:
Funds and funds of funds. 
Ramón Fonseca
:
  Futures, equity, derivatives, securitized debt, shorts and margin calls. Financial instruments. 
Jürgen Mossack
:
Words. 
Jürgen Mossack
:
Invisible. Abstract. 
Jürgen Mossack
:
Very different from cows.
 
 
Words by Scott Z. Burns
 
Pictures by Steven Soderbergh (as Peter Andrews) and Steven Soderbergh (as Steven Soderbergh)
 
The Laundromat is available for streaming on Netflix.
The real Mossack and Fonseca