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Geek Culture
01-08-2025
- Entertainment
- Geek Culture
Eyes of Wakanda (Disney+) — Review
Wakanda's history runs rich and deep, yet audiences and writers have only scratched the surface with the secretive nation's handful of appearances in the Marvel Cinematic Universe (MCU), ranging from an easter egg in 2010's Iron Man 2 , to its first spoken reference in 2015's Avengers: Age of Ultron . Through the late Chadwick Boseman's ( 21 Bridges ) regal portrayal of T'Challa, as the former Black Panther and King of Wakanda, and Letitia Wright's ( Black Mirror ) relatable take as his sister, Shuri, who took over the mantle as the new Black Panther, viewers have gotten glimpses of Wakanda as a hidden kingdom of marvellous technology and culture. Thanks to the latest Eyes of Wakanda , the four-episode limited Disney+ animated series, viewers can now explore the history of the secret nation with greater depth. Helmed by director and executive producer Todd Harris, who previously worked as a prominent storyboard artist on Avengers: Infinity War (2018) and Avengers: Endgame (2019), with co-executive producer Ryan Coogler, the director of Black Panther (2018) and Black Panther: Wakanda Forever (2022), the show brings viewers through the ages following brave Wakandan warriors of the War Dogs, an elite division of agents who engage in espionage for Wakandan interests. The War Dogs are not a new concept to the MCU, having been first featured in Black Panther , with T'Challa's uncle N'Jobu (Sterling K. Brown, Paradise ), Zuri (Forest Whitaker, Rogue One: A Star Wars Story ), and Nakia (Lupita Nyong'o, Us ) carrying out their respective War Dog missions in the 2018 comic book outing. Erik Killmonger (Michael B. Jordan, Sinners ) also later verbally addresses the War Dogs by title, commanding the agents scattered across the globe to carry out a mission for him after usurping the throne from T'Challa. The War Dogs in Eyes of Wakanda are portrayed in a different context, with their primary mission to infiltrate other nations and retrieve stolen vibranium artefacts. Along the way, viewers are treated to bits of Wakandan lore, from its culture and hierarchy to the technological advancements sparked by the discovery of a powerful metal called vibranium, allowing the country to outpace the rest of the world for centuries. Like many anthologies, the show's standalone format offers the flexibility to pick and choose episodes based on personal interests. Each episode takes place in a different land in a different time period, but unfolds in an chronological order, beginning from 1260 B.C. in Crete with the establishment of the War Dogs with Noni (Winnie Harlow, Monster High ) as the first agent, all the way to series finale which takes place in 1896, in the city of Adwa, Ethiopia. Given that the time skip between every episode spans centuries to even millennia, the characters do not overlap at all. Although there is an overarching storyline of sorts, the individual narrative is loose and only mildly factors into the series finale. This ensures that viewers will have no issue watching each episode, which lasts between 27 and 30 minutes, as a standalone, with no need to catch up or do homework between episodes, making it a convenient watch. However, the format can also lead viewers to become easily disengaged, as there is little to no investment to captivate them and retain their attention. This lack of interest, awareness, or investment may result in the unintentional skipping of otherwise engaging or enjoyable episodes, which is a pity. Unlike other Marvel Animation series to date, the show is set in the MCU's Sacred Timeline, and shares some connections with the franchise films. While the tie-in to the main continuity won't affect general understanding or influence the current overarching narrative of the MCU's Phase 6 or Multiverse Saga, it does still provide an interesting look at the big picture of the Sacred Timeline, as well as a glimpse into how the Sacred Timeline maintains its integrity. The compact and punchy episodes of Eyes of Wakanda deliver snappy and engaging action sequences, with the tight delivery of each self-contained adventure fleshing out the motivations and emotions of each character as they overcome the trials and tribulations of being a War Dog. Episode 1, 'Into the Lion's Den', establishes the primary mission of the War Dogs and introduces an integral pioneering agent, Noni, in the War Dogs' history. With surety of her mission but uncertainty of her own identity, Noni will have to navigate her first foray into the outside world as she chases The Lion, voiced by Cress Williams ( Black Lightning ) and what it means for her and Wakanda. The second, 'Legends and Lies', a standout episode, demonstrates the emotional turbulence that the job demands of Memnon / B'kai (Larry Herron, Hello Neighbor: Welcome to Raven Brooks ), who's forced to infiltrate another nation for a number of years. Here, Herron perfectly encapsulates the raw emotions of the character in his voice acting, supplementing a well-written episode that does a stellar job of capturing the poignancy and sacrifices involved in being a spy, compounding the internal struggles for B'Kai. Taking place further down the timeline, 'Lost and Found' follows Basha (Jacques Colimon, The Sky is Everywhere ), a War Dog who has to thwart the Iron First / Jorani (Jona Xiao, Raya and the Last Dragon ), while retrieving a vibranium artefact. It depicts the protocols, equipment and hierarchies in place, while showcasing the sheer scale of the War Dogs' operations and how these peripheral systems support the field agents to successfully carry out their jobs. The series finale, 'The Last Panther', ties up the entire series into a loose overarching narrative, but also establishes the importance of the War Dogs in Wakanda's history and in the Sacred Timeline. With Zeke Alton ( The Boss Baby: Back in the Crib ) portraying Prince Tafari, a War Dog field agent in training, who stumbles along under the guidance of Steve Toussaint's ( House of the Dragon ) Kuda, the duo will rediscover what it means to protect Wakanda's security. This episode also cements the importance of the War Dogs as protectors of Wakanda, and to an extent, their role in safeguarding the world, often at great personal cost and without credit. Together, the four-episode adventure not only paints a comprehensive view of the War Dogs and their understated importance in Wakandan history, but also explores the different emotional facets that are unique to each War Dog, whether it's identity, guilt, humility or self-sacrifice, serving as a parallel to the progress of their missions. This nuance humanises the War Dogs, fleshing them out in a way that elevates the short series to more than just a collection of exciting and beautifully animated action sequences or an anthropological study of Wakanda, turning it into something more. Still, there are some chinks in the armour. While it's understandable that the short runtime only allows for limited character exploration, certain characters could have enjoyed more care. The latter two episodes of Eyes of Wakanda , in particular, feel abrupt when it comes to the turnaround of certain characters, who seemingly make a great deal of growth in a brief period, with Episode 3 subjecting its protagonist to stunted development. On top of that, the much-anticipated introduction of Xiao's Iron Fist falls rather flat as she winds up being a rather two-dimensional character who seemingly only serves the purpose of plot advancement. The show's animation and artwork are also beautiful, furnished in a style that's more nuanced than that of What If…?. The artistic flair is steeped in texture, deep illustrations, and a hand-drawn approach, as opposed to the cel-shaded animation of its counterpart. Alongside a stylistic flair and dynamism, the brushwork visual style is reminiscent of modern African-American artists such as Ernie Barnes and illustrator Dean Cornwell, complete with sleek animation and visually striking effects used to display the energy-displacing abilities of vibranium technology. The action sequences are seamless and thrilling, with a particular sequence, echoing the team-up of Steve Rogers and Bucky Barnes against Tony Stark in Captain America: Civil War , done particularly well. It may lack the visceral impact that comes with omnidirectional point-of-view switches used in other animations, but that ultimately is a stylistic choice, and it works to great effect in Eyes of Wakanda . Is the show necessary? Perhaps not. Although it ties into the Sacred Timeline and provides some additional contextual information for existing properties in the MCU, Eyes of Wakanda is first and foremost a self-contained adventure, and fans could theoretically opt to skip this show and still not lack any knowledge when watching future projects. However, between the gorgeous visuals and the heart it brings, this anthology is certainly still worth a watch, and fans will certainly enjoy the ride. Summary Eyes of Wakanda may be an anthology, but it also examines emotional themes that elevate the series beyond a mere collection of short stories. While a standalone series that has no bearing on the MCU, fans who opt in for the ride will certainly be in for an eye-opening and thrilling ride. Story - 7.5/10 Direction - 7/10 Characterisation - 7/10 Geek Satisfaction - 8/10 Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he's not sleeping, he's highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it's honestly pretty close. Disney+ Eyes of Wakanda Marvel Review
Yahoo
25-06-2025
- Entertainment
- Yahoo
Where does Ironheart fit in the Marvel timeline?
The Marvel universe is expanding with another Disney+ TV series, this one centred on tech genius (and Iron Man's successor) Riri Williams. Dominique Thorne first debuted in the role back in 2022's Black Panther: Wakanda Forever, joining Shuri (Letitia Wright) as she faced new adversary Namor (Tenoch Huerta) and tried to protect Wakanda whilst also navigating her grief over the death of King T'Challa (Chadwick Boseman). The new series follows Riri in the aftermath of her time in Wakanda as she tries to find her place in the world and continues her work to build the most advanced suit of armour since Iron Man. But with a dozen or so Marvel projects to come out since Wakanda Forever, even MCU fans would be forgiven for getting a little confused over where new shows and films take place. Here is everything that you need to know about Ironheart's placement in the overall timeline. Wakanda Forever is set during the Spring of 2025, and Ironheart has been confirmed to begin in "the days after" the film. It follows the character in the weeks after, and examines how she was impacted by the events of Wakanda Forever. Marvel's synopsis for the show sheds more light on where the series fits in the timeline: "Set after the events of 'Wakanda Forever,' Ironheart follows Riri as she returns to her hometown of Chicago, determined to build a state-of-the-art iron suit and make her mark on the world. Her time in Wakanda has left her more eager than ever to pursue her dreams, and her quest entangles her in a dangerous world of science and magic." This means that Ironheart is set in the first half of 2025, making it the first Marvel project to actually be released at the same time it takes place. It also means, rather confusingly, that Ironheart is set before many of the recent Marvel movies and TV series to have come out since Wakanda Forever. So why is Ironheart set so far apart from recent Marvel projects? Well, it could be because the series was filmed between May and November 2022 and production wrapped before Wakanda Forever even landed in cinemas. The show's close proximity to Wakanda Forever might be surprising given that the show is seen as the conclusion of Phase 5 in the MCU, whereas Wakanda Forever was the conclusion of Phase 4. Phase 5 has featured a number of films, the last of which was Thunderbolts and includes the likes of Captain America: Brave New World, The Marvels, and Deadpool and Wolverine. While on the TV side of things Marvel's Phase 5 includes Daredevil: Born Again, Loki, and Agatha All Along. There are some Disney+ series set during the same year as Ironheart, including Echo which is set in the first half of 2025 and Daredevil: Born Again, which takes place between late 2025 and early 2026. But on the movie front, many of Marvel's films have jumped well ahead — Captain America: Brave New World takes place between November 2026 and the first few months of 2027, and the newest film in the franchise, Thunderbolts, is set shortly after that in 2027. If you're wondering why there was such a long wait between Ironheart being filmed and its release, Marvel TV boss Brad Winderbaum revealed to ComicBook's Phase Zero podcast in March 2024 that it was so Marvel spread out its Disney+ content. He explained: "Frankly, in all honesty, there was a mandate to kind of create as much as we could for Disney+ as quickly as we could. And then there was a shift, and all of a sudden we have to start spreading our release dates out. So, that really accounts for a lot of the delays. "Now, we're using that time, we're not sitting idle. So, it stays in the oven. You can bake certain things a little more. It's actually, I think, ultimately, it's only going to make things better. But most of it's just frankly shrapnel from the business." Ironheart premieres with its first three episodes on Wednesday 25 June on Disney+, with the next three episodes being released the next week.
Yahoo
05-06-2025
- Entertainment
- Yahoo
Letitia Wright on Overcoming Impostor Syndrome for Directorial Debut, Ryan Coogler Prophecy
Actress and producer Letitia Wright (Black Panther, Death on the Nile, Black Mirror, Small Axe) recently premiered her directorial debut, the short Highway to the Moon, which she also wrote, during the South London Film Festival. On Wednesday, she shared that she had to overcome 'impostor syndrome' and 'humble myself' to be ready for the directing reins. And she had to 'team up with people with the experience willing to teach me,' from the directing lingo to technical aspects, she told the inaugural SXSW London on Wednesday. More from The Hollywood Reporter Death of "Grassroots" Live, Electronic Music Venues Gets U.K. Parliament Review: SXSW London 'Thus Spoke the Wind' Trailer Hints at a Vivid, Metaphysical Ride in the Armenian Drama (Exclusive) Animated Werewolf Movie 'Dog of God' Debuts Wild Trailer With Hitler Look-Alike Getting Tortured (Exclusive) In front of an excited crowd, Wright recalled that Black Panther director Ryan Coogler told her one day: 'You will be directing soon.' She said her reaction was: 'You are mad!' But his 'prophecy' was repeated by a famous actor, whom she didn't name, within days, and it ended up coming true. In her SXSW London appearance and a wide-ranging discussion, Wright recalled how she discovered cinema and a shy teenager. 'I became a cinephile at age 13,' she shared. I watched all these films from Limewire. … I was kind of a loner.' What are her career ambitions? 'It's about legacy and purpose,' the star shared about how she approaches 'quote, unquote fame.' And she added: 'I want to leave an impact, and I want you to have a great time.' Speaking of fame, Wright highlighted that 'it takes a very strong person' to handle the tougher parts of fame, given that not all people are always respectful. 'They don't give us the grace to be human,' she said. Does Wright have any favorite movies in her career so far? 'I am grateful for the catalogue I have been able' to create in film, she said. But she mentioned her role in Danai Gurira's stage play The Convert at the Young Vic Theatre in London, where she played the character of Jekesai/Ester, as one of her favorite work experiences so far. Nigerian singer-songwriter Tiwa Savage also spoke on the panel, entitled 'Women in the Room,' at the Truman Brewery in the Shoreditch neighborhood of the British capital that was part of the festival's first-ever European edition. SXSW London runs through June 7. Penske Media, the parent company of The Hollywood Reporter, is the majority stakeholder of SXSW. Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
Daily Mirror
29-05-2025
- Entertainment
- Daily Mirror
Letitia Wright's directorial debut will show the devastating toll of knife crime
Black Panther actress Letitia Wright's directorial debut is a "love letter" to young Black men in response to the knife crime crisis in London and her personal experiences and loss Emmy-nominated actress Letitia Wright is set to make her directorial debut with Highway to the Moon, a new coming-of-age fantasy drama. Wright was inspired to create the short film in response to the devastating impact of knife crime in London and has called the project a 'love letter to young Black men all over the world '. Wright wrote, directed and produced the short film which was inspired by the killing of her friend's brother and the death of model Harry Uzoka. Actors Kenyah Sandy and Lamar Waves star in the fantasy film, which follows the experiences of young Black men after their lives are tragically cut short. Sandy portrays the character Micah, a young man journeying through the liminal space between life and death, guided by a group of other young men. Together the men confront what it means to be a Black boy in today's society, empowering each other to embrace empathy and self-worth. In a statement, Wright shared that Highway to the Moon veers away from stereotypes in favour of recognising the unique emotional, social and mental health struggles and strengths of young Black men. She said: 'The film is my way of exploring joy, love, and unity, and I want to show these boys in a way that is not connected to a stereotype, but instead explores their emotions, complexities, hopes, dreams, disappointments and fears, and allows them to see themselves as worthy, with lives that have meaning.' The global premiere of the film will be on Saturday, May 31 at the South London Film Festival. Wright said that the setting for the film's premiere was particularly important to her. 'I felt it was crucial to premiere the film at a festival that supports emerging filmmakers in our community," she explained. "The South London Film Festival's target audience aligns with the young people I aimed to reach with this film, and I hope it resonates with them.' In response to those who might criticise her for highlighting knife violence, Wright told The Guardian: 'There is not a single knife that you see in this film. It's just the actions of it. It's just the aftermath.' She also noted that in many stabbing cases, gangs were not involved at all. The short film was commissioned through WeTransfer's arts platform, WePresent. Holly Fraser, VP of content at WeTransfer, is an executive producer on the film, alongside Alex Mattinson and Damian Bradfield at WeTransfer. As reported by Variety, Fraser shared: 'Being able to commission important stories and work with artists that are driven to use creativity as a tool for progress has always been the cornerstone of WePresent's mission as a platform. 'Letitia exemplifies this and through the production of Highway to the Moon we've seen the love, care and dedication that she has poured into the film at every turn. We're excited to see the journey that 'Highway to the Moon' now goes on, and we hope that it starts much needed conversations amongst its audiences moving forward.'
The Guardian
27-05-2025
- Entertainment
- The Guardian
Letitia Wright describes ‘huge burden' of representation on black artists
The actor Letitia Wright has spoken about the 'huge burden' of representation for black film-makers telling stories about black lives, as she prepares to unveil her directorial debut. The 31-year-old Black Panther star steps behind the camera for Highway to the Moon, a short film inspired by the killing of her friend's brother and the death of the model Harry Uzoka. The short film – written, directed and produced by Wright – will have its world premiere on Saturday at the South London film festival. Kenyah Sandy and Lamar Waves star in the coming-of-age fantasy that explores the lives of young black boys whose futures have been violently cut short. Wright described the film as a spiritual and visual journey rooted in themes of black youth joy, love and unity. It imagines what happens to the souls of young black boys after death, whether through violence or mental health struggles, across three realms: Earth, the 'in-between' and space. 'It came from that place of shock that people that I knew, particularly my friend's brother Junior, weren't here any more and it was over a disagreement,' she said. 'His life is gone and just seeing that pain of my friend and her family and her mum processing it and how nobody would want to come forward to say who did it. Justice hasn't come to that household.' The short film, commissioned through WeTransfer's arts platform, WePresent, is Wright's response to the knife crime crisis in London. But she is clear that it deliberately avoids tired stereotypes, noting that in several stabbing cases, gangs were not involved at all. 'It just made me intrigued about their spirits and wanted to write about it and do it from a different lens, a different angle than what we're used to seeing,' Wright said. Speaking to the Guardian, Wright reflected on the pressure placed on black film-makers to speak for an entire community and to meet everyone's expectations. She said: 'I felt that from just even my acting career, the particular roles I want to take and the particular roles that I do take. I do weigh it up – I know how much representation means and the power of image, the power of what you see and what you hear, and how it can influence. So that has been something that has been a challenge for me. Whether it's writing it, whether it's directing, whether it's producing, whether it's the casting of it all. '[There's] that thing in the back of your mind feeling like, dang, is someone's going to misinterpret my intentions?' Wright added. 'And that has already happened. But I also have to let go of it because it's a huge burden to bear and I cannot control everybody's feelings. That's the one thing that I've been able to look at just in a mature way and just say, I cannot control how everyone's going to take this. All I can do is focus on my intention.' For this film, that intention is to amplify a message of love and unity. Wright said: 'I want this to really hit home with our boys when they watch it. It's like, dang, I'm meant to be here. He's meant to be here. We're meant to have a good quality of life.' To those who may criticise her for highlighting knife violence, she said: 'There is not a single knife that you see in this film. It's just the actions of it. It's just the aftermath of it.' Wright admits she was scared about stepping into directing, describing it as a steep learning curve. 'It had its difficult moments. Some days I wanted to give up, but the boys, honestly, it's the young boys and this story that just kept me going.' To prepare, she enrolled in directing and producing courses, all while continuing her acting work. 'Overall, it was a great experience, but I was definitely in the trenches,' she joked. 'But in the end, I made something that I'm really proud of.'
