Blacks living in America, Europe and Australia—and including one of the stars of the film—have been forced to resort to the Jewish fiction of a “secret advanced civilization” as portrayed in the Black Panther movie to try and explain away Africa’s staggering backwardness.
The film, based on the 1966 fantasy invention of two Jews, Marvel comics writers Stan Lee (born Stanley Lieber) and artist Jack Kirby (born Jacob Kurtzberg)—better known for other fantasies such as Spiderman, The Fantastic Four, Hulk, Iron Man, and the X-Men—has seen a surge in “black pride” all over the world—and by increasingly desperate attempts to portray this childish fantasy as what Africa “would have looked like had it not been colonized.”
The first to make this laughable claim was Nomaris Garcia Rivera, a mixed-race Puerto Rican, in Affinity magazine. Rivera scribbled a hate-filled diatribe against whites in her review of the film, in which she stated openly that the “The ‘Black Panther’ trailer shows what Africa would have been if white people didn’t destroy it.”
Next to enter the hysteria over the fantasy was a group of several hundred Africans who attended the film’s premier in Melbourne last week, who, according to a report in ABC news, gushed enthusiastically over the nonsense, with one attendee telling the media that
. . . “this is the first time that the Hollywood machine is giving the space for the black image to be portrayed accurately”
. . . “We’ve got to undo colonial and historic disadvantage for the last 400 to 500 years”
. . . “I’ve been waiting for this movie, it’s not just a movie to everybody here. It holds dearly and special to them and that’s why I came”
. . . “It’s really significant for us black people here in Australia … because that’s what the big cry is: for us to tell our stories in our own way,” and so on.
In the UK, Kenyan co-star of the movie, Lupita Nyong’o, said during a TV interview that the “film’s re-imagining of Africa had the continent not been colonised is liberating.”
“It’s so liberating. We come from a continent of great wealth, but a continent that has been assaulted and abuse very often. What colonialism did was it rewrote our history and our narrative, and our global narrative is one of poverty and strife, and so the wealth of the continent is very seldom seen on such a global scale.”
In America, black audience reaction was captured by Elle magazine, and included such gems as
. . . “It paints Black men, for one, in a positive image. I’m originally from Indiana and they [white people] like to use the word ‘thug’ instead of the N-word, but you know what they really mean. I think the movie is a great way to show we are more than what you say we are. We always have been, we always will be, and you’re going to see more of this”
. . . “I think it’s such a beautiful narrative to have put forth on a global stage, especially in light of what we’re dealing with right now,” and
. . . “This story, seeing how advanced Wakanda is being portrayed as, almost kind of tells us about the ability that we were able to build pyramids when other folks were struggling in caves.”
The Times of Israel could not resist pointing out that the fantasy film was the product of Jews, and in an article titled “Why ‘Black Panther’ might also be a milestone in black-Jewish relations,” said that “Black Panther’s  debut came at a crucial juncture in black-Jewish relations. The years after World War II and up to about 1966 have been referred to as a “golden age” in the relationship between the two groups. American Jews, who empathized with blacks as they themselves struggled to fit into white American society before and after the war, participated in the civil rights movement to an outsized extent, and Martin Luther King, Jr., often praised them for their activism.”
The Times of Israel continued by explaining that relations between blacks and Jews and then become “strained over time, as Jews found their way into the upper echelons of America, while blacks remained stifled in comparison.”
Finally, the “aftermath of Israel’s victory in the 1967 Six-Day War subtly added to the groups’ separation. After Israel repelled attacks from many of its Middle Eastern neighbors, it took control of the Arabs living in the Gaza Strip, the Sinai peninsula and territory known as the West Bank. This was a turning point in the way many groups — including blacks, who sympathized with other groups they considered oppressed — viewed Israel, and in turn some American Jews. In their eyes, Israel became another unjust colonial regime,” the Times of Israel said.
“So perhaps “Black Panther” represents an opportunity for healing,” the Jerusalem-based newspaper continued, quoting Lee (Lieber) as saying that the film was “dynamic, [and] thoughtful,” and the family of Kirby (Kurtzberg) as saying that a “black superhero with both amazing mental as well as physical powers, from a technologically advanced society in Africa, sends as strong a message now as it did over 50 years ago.”
The truly sad part of all of this is that the reality of Africa is the very opposite of the “Wakanda” fantasy.
All African nations fall at the bottom of any list measuring small size economic activity, such as income per capita or GDP per capita, despite a wealth of natural resources.
In 2009, 22 of 24 nations identified as having “Low Human Development” on the United Nations’ (UN) Human Development Index were in Sub-Saharan Africa.
In 2006, 34 of the 50 nations on the UN list of least developed countries were in Africa. In most of these African states, Gross Domestic Product per capita is less than US$5200 per year, with the vast majority of the population living on much less (according to World Bank data, by 2016 the island nation of Seychelles was the only African country with a GDP per capita above US$10,000 per year).
In addition, Africa’s share of income has been consistently dropping over the past century by any measure. In 1820, the average European worker earned about three times what the average African did. Now, the average European earns twenty times what the average African does.
It is perhaps an indication of desperation, rather than hope, that so many blacks must now cling to a Jewish Hollywood fantasy of what Africa “could have been,” rather than facing the reality of what Africa is, and trying to do something about that — instead of always blaming white people for African problems.