#stan ryan coogler for clear skin

[janetsnakehole02]

well FUCK i- where’s the lie like honestly draw me a map to the lie u can’t

#stan ryan coogler for clear skin #bucky barnes #white wolf #black panther #ryan coogler #sebastian stan

[szalipcombo]

Award Show

A/N: This was requested by Anon, and tried my best babes hope y’all like it!!! My request are still open so go ahead and bother me. 

Warning: none really just nervous wife, mention of racism, hint of smut. 

ThiccBlackReaderxRyan Coogler 

“Baby! The car leaves in ten minutes, you ready?” Ryan yelled down stairs. You’ve been rockin with Ryan ever since he was playing football. And this was your first time goin to an award show with him. Between your own job and the baby, you always had a reason not to go, but tonight was so important to Ryan. He got the most nominations of the night, and he may not win them all but nothing would make him happier to see your face in crowd lookin for up at him.

““Damn Ryan! These things take time!” You yelled back putting on your earrings   . Truth was you’ve been putting and taking of the same pair of earrings for the past five minutes. You’re nervous. Yeah, people have seen you with Ryan at premiers, but you’ve put on a but of weight since the baby. You were always “thick” but after giving birth to your beautiful daughter you got “thicc”.  You’re wios have gotten wider, your thighs were thick and soft, your ass jiggled whenever you walked, and your B cup breast went up to Double D( Ryan loved this change to your body). And if you thought you had a hard time finding clothes that were cute then, bay-Bee!

You heard Ryan walking up the stairs to your room. “ Y/M what’s takin so long?”he asked. He took the tome to look you over. You’re hair that was always in a puff(A/N: all us natural girls know that’s the easiest hairstyle ever lol) was freshly washed, and twisted was in a fro with a side part and a bang to cover your eye, your makeup was neutral, using your signature clear gloss. Your sepia skin was touched by Ms. Fenty, and don’t get him started on your dress. Since you we’re nervous he got Chad’s stylist to hook you up. You were skeptical because she made him look good at the Met, but in Paris? But ole girl hooked you up. She gave you a spaghetti halter straps, and the emerald shade looked amazing on your skin. The dress gave you a conservative yet provocative amount of cleavage.  And the high slit up your thigh almost made him cum right there.

“Whoa….. baby you look amazing” he breathed out. He walked over to you at your vanity. He helped you up to look you up and down.

“Thank you, but I don’t know.. I mean do you think this is too much? I mean I don’t wanna embarrass you. Ashley gave me another dress, I can change real quick?”you rushed heading towards your closet. “No no no, baby you look amazing, no you look fione!!!” Ryan joked. You giggled at his childish behavior. No matter what Ryan would always hype you up. “And how would you embarrass me?” He inquired. “I mean look at me!” You dryly chuckled. “Mothers do this wear this? I mean this is the biggest night of your career, and everyone is gonna be looking at you, which means they’ll be looking at me!” 

You never really had a good reaction with the media. Before your weight gain you were an athlete. Cheerleader, and basketball. So you had muscles, and you know how social media reacts to a black woman with muscles? RACISM! You even had to deactivate your account. Other celebrities had your back like Ava, and Danielle Brooke, even Serena ran to your aid. But the people you had to thank, was the black panther stans. Yes you were thankful for the others, but you knew them. The Black Panther fan base we’re strangers, people you may never know or meet we’re willing to defend you. And those hoes were ruthless! Clapping back at those racists. You felt loved.

 “Baby… fuck them other people. All I need is you, and our beautiful daughter. You deserve this. Turn around in look in the mirror.” You complied with a huff, and stared into your reflection.”Look at this body.” He made his way to your shoulders. “These shoulders, they hold me up whenever I’m going through anything. These lips they whisper encourgment, turn up into the most beautiful smile, and speak that freaky shit.” You pushed him away playfully “Boy stop playing!” “And these arms? They are the most wonderful things in world. Well besides these.” He groped your breasts earning a chuckle out of you. “Just know that I think you’re beautiful and that you look beautiful” You turned around and gave a deep kiss, not caring about smudging your makeup. “Thank you.” “I love you.”you both said in unison, laughing. The honk of the horn broke you guys up from your moment. “Come on. Let’s go get your awards.”

Tag List: @bartierbakarimobisson @killmongersaidheyauntie@inlovewithmakeupcomicsanimelove @blackpanthersmut @tchallamakesmeh0lla @romanceoftheeverydaylife

#Oakland bae #Ryan Coogler #My fic #fluff #BlackThiccReader #requested

[infectedworldmind]

On an unseasonably warm Saturday morning in early February, my wife suggested that I take a break to go see the new Black Panther movie on our way back from a local Chinese New Year parade.  We were having a very good day after an exhausting, impossible week. At the time, I did not know that this pattern would repeat itself over the following four months. We had a great breakfast at one of our favorite local spots (Zoi’s, which makes terrific breakfast sandwiches) and I successfully convinced my son that the colorful dragons marching in the parade were fun and not frightening (“See? They’re not real dragons, they’re just costumes!” <man under dragon costume gives a friendly wave to skeptical son>).

We discussed the Black Panther phenomenon while we munched hash browns and sipped coffee – it had premiered a few days earlier and was already a giant success at the box office and in the culture. I was curious and she was ambivalent – while the concept and creative folk involved piqued her interest, she mostly checked out on Marvel movies after the underwhelming Avengers film in 2010. When she made her offer later that morning, I thought about declining until I realized that if I didn’t accept, I probably wouldn’t see Black Panther until it arrived on Netflix (or whatever over the top digital service Disney comes up with). So I accepted her offer and was surprised by how excited I felt.

I found an amazing seat at our local theater (a spot that made up for its lack of modern features with decent screens and pleasant staff). I was surrounded by a representative sample of New Haven – earnest college students from a wide variety of  backgrounds, excited African Americans from the local community and pleasant Yale/Yale New Haven Hospital retirees. There was a lot of conversation in the room that died down when the trailers and commercials and PSAs ended. Everyone focused their attention on a dark screen and heard a boy ask his father to tell him a story.

A few hours later, another curious boy asked a man who he was, and the screen faded to black. There were two more scenes tucked in a seemingly endless scroll of credits, but they felt like post-film trailers for future Marvel movies, a reminder that Black Panther takes place in a larger (and quite lucrative) narrative and a suggestion that the cinematic Wakanda will play a much more prominent role in the Marvel movie universe than its comic book counterpart. Some stayed for the scenes, and others did not, but it was clear that the boy’s question was the end of the story that Ryan Coogler spent 200 million dollars to tell. Some people were energized, others were talking about their favorite scene or which one of the many attractive actors in the film was the most stunning. I saw a few people with tears in their eyes, a few repeating Michael B. Jordan’s last line in the film.

Black Panther is an excellent film, possibly the first Marvel movie that feels completely engaged with our world. Coogler sustains an emotional resonance throughout the entire film that can only be found in isolated sequences in other Marvel films – a glance from Jeff Daniels, a provocative question asked by Cate Blanchett, a moment of intimacy between Chris Evans and Sebastian Stan. These genuine, emotionally honest moments are as important to the Marvel Studios storytelling formula as all of the third acts filled with expensive digital effect sequences and schematic plots. Black Panther departs from this formula by grounding these moments in a personal story with meaningful stakes. The stakes of the story matter because all of the artists involved in the movie – from the director, writers and cast to the costume designer, the makeup and hair people and the experts who helped with dialects – worked to make all the characters feel fully realized,  with hopes, dreams and flaws independent from our hero and his journey. We care about the fate of Wakanda because we care about the characters who inhabit it – and T’Challa’s family turmoil matters because the love, joy and resentment expressed by the family members feels real.

Coogler reminds us that the desire for representation in the African American community isn’t just about seeing black faces on a screen. We want to be taken seriously, to feel like our gaze is as valid and important as the white gaze that we are accustomed to seeing in Hollywood films. We want to see a dramatization of the kinds of debates and tensions that exist within the black community without an explainer for everyone else. We want movies where dark skinned people are properly lit and stories that aren’t mediated by the perspective of outsiders (even the very well meaning ones).

Coogler uses a familiar hero’s journey framework to tell a story about community, societal boundaries and black liberation. Black Panther dramatizes the discourse within the black community about identity and freedom in mythic, larger than life terms without sacrificing the black perspective. He invites the audience to view in-group conversations without translating anything for them. It’s a mainstream movie about black lives that cheerfully ignores the urge to reassure or defy the “little white man deep inside all of us” who wants to limit our freedom to imagine and create fictional worlds.

Coogler trusts his audience. He trusts them to tease out the distinctions between and within the liberal and radical visions for black liberation presented in the scenes and layers the narrative with allusions to events and ideas relevant to the African American experience.

There are limits to the scope of ideas explored in Black Panther. The film is set in Africa and is filled with images and items that we associate with Africa, but its narrative is driven by the concerns, dreams and dilemmas of the members of the African diaspora who were brought to America hundreds of years ago. In one sense, there aren’t many African American characters in Black Panther, but in another, we are everywhere. We are asked to reflect on the obligations that a privileged black community owes to less privileged black communities and while the characters do reference the struggle against white supremacy (not named, but you know…) in global terms, the visual reminders of oppression and that struggle are all tied to America, and the African American civil rights movement (in the early nineties) serves as the catalyst for the story.

This dynamic is not confined to the film version of Black Panther. In the late winter, I planned to (and may still) write about Black Panther and Wakanda as incomplete afrofuturist projects. Here’s the gist: Black Panther and Wakanda were created by two Jewish American comic book creators in the 1960’s, and while a number of Afro-diasporic writers and artists have helped shape our understanding of the Black Panther’s world over the years, almost all were telling stories from a perspective that was both African and American. They explored African American hopes and fears about empowerment, colonialism and intergroup conflict, but rarely incorporated the viewpoints of other members of the diaspora, particularly those who remained in Africa. I found great value in exploring the dreams and possibilities of the African American experience through a story like Black Panther (and a nation like Wakanda), but wondered if the absence of non-American perspectives (particularly African ones) blunted its potential impact. I also wondered how much sharper – and more transformative – the story would be if we were reading/watching a story that Africans were telling us about their world.

Black Panther is also a Marvel Studios movie, and cannot escape the positive and negative associations of that corporate relationship.

It shares the basic plot structure as many of their films centered around a solo hero, from the role of the two villains in the narrative (and how they are introduced) to the hero’s fall from grace and eventual triumph in a CGI fueled battle.

I wonder if that relationship contributes to the intriguing tension between the radical and conventional elements in Black Panther. The film’s visuals shake mainstream (at least in the world of blockbuster commercial Hollywood filmmaking) assumptions around beauty and power, with a diverse, nearly all-black cast presented as larger than life figures and shot in a manner that highlights the richness of their individual skin tones.

We are shown pieces of culture from all over Africa in a way that makes them feel modern and vital (and not ancient or exotic). But while the story gestures towards quasi-radical politics, it ultimately delivers a full throated defense of traditional monarchy that would’ve seemed downright reactionary in another film. The dialogue that evokes a long history of black nationalism/radicalism is delivered by a character presented as a violent faux populist tyrant. T’Challa’s plan to reengage with the world felt audacious on my first viewing, but upon reflection, it sounded pretty vague. My wife (who watched the movie with me when it was released on Blu Ray) remarked that she expected T’Challa to announce an initiative that would improve the material circumstances of the people of Oakland – a housing or education or employment program.

The Africana spread throughout Black Panther highlights this tension. The visual look of the scenes set in Wakanda is thoughtfully considered and creates a distinctly non-American context for the story. The interviews and profiles surrounding the movie make it clear that the visual aesthetic for the film is intended as a celebration of a wide range of African cultures, a rare thing for mainstream American films. This celebration is complicated by the film’s narrative, which is mostly set in a fictional isolated African nation. In this context, the blend of different African cultures in a single place without any in-text explanation becomes a reminder of our troubling habit of treating Africa as if it were a single location. A cinematic Latveria (the fictional Central European home of Fantastic Four villain Dr. Doom) that just combined elements of Greek, Czech, French and British visual and physical culture wouldn’t seem authentically ‘European’, it would feel artificial, the product of an outsider unfamiliar with the diverse cultures and societies on the continent.

Latveria, from a bad Fantastic Four movie. This needs some Greek columns and a couple of domes. Maybe a circuitry covered henge in the background.

The mix of conventional and radical elements make Black Panther feel less satisfying and more substantial. I would have wholeheartedly welcomed a mainstream Hollywood funded full throated meditation on dismantling white supremacy and the pain caused by colonialism, but I know that Americans – that we – have a limited appetite for blockbuster films that unnerve or threaten. I still want to see a movie that shows the non fictional black community – my community – through a non-tragic lens. Many countries in Africa still face huge challenges, but there have been a number of meaningful improvements of social and economic conditions in nations throughout the continent over the last two decades. African Americans still face a wide range of disadvantages relative to European Americans, but there has been (some) progress (particularly in the areas of education and wages). We are more than nameless youth at an urban basketball court. The scenes set in Wakanda are triumphant and transporting, but I couldn’t shake the thought that there are also happy and prosperous and successful (in the broadest definition of the word) black people who live in actual neighborhoods in real countries.

Coogler’s Black Panther is a piece of entertainment, a commodity owned by a multi billion dollar corporation that has a mixed history with black people and social justice and which is unlikely to green light a blockbuster with radical politics or that challenges viewers. It’s also a thrilling and thought provoking work of art made by a promising young African American director who has successfully infused social commentary and emotional honesty in a series of mainstream films of steadily increasing size and scope. Black Panther’s success is a win for films made by and starring black people, but it’s also a big win for Disney shareholders. It’s a story that excites by centering the perspective of African Americans (even in allegorical terms), but leaves one hungry for more that reflects the experiences of people from other parts of the diaspora.

It’s a movie that entertains and inspires, but as Yasiin Bey might say, it can’t save us. Thankfully, no one promised that it would.

Next Week: Second Take (Four Things).

Black Panther: First Take. In which I finally put some thoughts about a popular movie into writing. On an unseasonably warm Saturday morning in early February, my wife suggested that I take a break to go see the new…

#Afrofuturism #Black Panther #Ryan Coogler

[amandajoyce118]

Black Panther Easter Eggs And References

Instead of doing a Six Sentence Sunday this week, I thought I’d finally get around to writing up and sharing some Easter eggs and references from Black Panther. I’ve now seen the movie twice, so I think I’ve got a fair amount, but I’m also sure there are going to be things I missed.

If you haven’t yet seen this movie, there are spoilers in my list! So. Many. Spoilers. You have been warned.

I’m not going to give you everyone’s comic book history and what’s been changed for each character for the movie, but what I will say is that I think this is one of the few MCU movies where every single named character exists in the comics, which is pretty fantastic.

The Marvel Comic flip.

Before the Marvel characters and logo appear on screen, the studio still uses the flipping comic book pages to give you a little nod to their history. Usually, the images are the same for the MCU with the Avengers you see across Phase 1. This time, if you blink you might miss it, there’s a Black Panther symbol in those pages.

The history of Wakanda.

The movie’s opening has a father telling his son (you might have that it was T’Challa getting the story when the movie first opened, but that’s definitely Erik being told the story by his father) the story of vibranium landing in the middle of Africa, tribes separating, and Wakanda being built around the vibranium mound. He also details the lineage of Black Panthers. All that is almost exactly out of the comics. The MCU often changes bits and pieces of the story, like it does for T’Challa’s father dying when he’s an adult instead of a boy, but this stunning set up is almost exactly the same.

Oakland, 1992.

Oakland happened to be where director Ryan Coogler grew up and it’s also where the Black Panther political movement was born in the 60s - shortly after the comic book character made his debut. I’m not sure if 1992 is a significant year for him because it’s not for Black Panther. The previous comic book series ended in 1991 and another volume wasn’t published until 1998. It was considered a particular “bloody” year by local papers though. There were 167 known murders that occurred in Oakland that year, which apparently was a record at the time. Since that’s particularly dark, let’s also note that the Oakland Athletics (that’s baseball, folks), finished first in the American League West that year. (When the movie returns to Oakland at the end, that’s also a nod to Coogler’s real life dream: to be able to give back to the community that raised him. T’Challa puts a Wakandan Outreach program in place. Coogler spoke in some of his very first interviews about wanting to bring his movies to Oakland, to film there, to generate revenue for the city, to work with kids that live there in arts programs.)

Public Enemy.

One of the posters on the wall of the Oakland apartment is for Public Enemy, which seems appropriate for a guy in 90s Oakland who wants to bring power back to his people.

The MCU timeline.

The movie references it being a week since the UN conference and T’Chaka’s death, so it’s set right after the events of Captain America: Civil War, putting it right before Spider-Man: Homecoming and Doctor Strange, but also possible happening during the last few episodes of Agents of SHIELD’s third season. So, don’t expect a crossover there.

Killmonger’s mask.

In addition to being inspired by real life ceremonial masks worn by the Igbo, the mask also draws on comic book inspiration. Killmonger wears a mask very similar to the one in the movie during his first confrontation with T’Challa in the comics.

Killmonger’s girlfriend.

So, this might not have been intentional, and this might not even really be an Easter egg, but one relationship long time comic book readers will remember is that of Killmonger and Madam Slay. Madam Slay had trained leopards (and we do see leopard-like spots in Killmonger’s costume later), and she was his right hand for a few issues when Black Panther stories were being told as part of Jungle Action comics. She had a thing for knives and wanted to help Killmonger kill T’Challa. Of course, she was also Wakandan, so maybe the woman seen in the movie isn’t her.

Klaue’s arm.

The cannon in Klaue’s arm is inspired by the comic book design. He has a “sonic cannon” in his arm in the comics, which gets something of a shoutout when he says it’s sonic mining equipment that was used to give him the arm in the movie.

Shuri’s buns.

When T’Challa meets his family off the plane, Shuri’s hair is in a couple of buns. That’s your Star Wars reference as it was meant as an homage to another princess in a galaxy far, far, away. Letitia Wright confirmed the nod in an interview.

“What are thoooose?”

I hear this is a nod to a famous vine. LOL Okay, I have to admit that I was never into vine, but everyone in the theater under 30 found this hilarious. I found it more adorable that Shuri bases her shoe design on Back to the Future. But hey, we all find different things funny.

Mount Bashenga.

Shuri’s lab is inside a mountain named for the first known king of Wakanda that becomes Black Panther. He’s even named in the opening sequence of a bed time story.

M’Baku makes a move toward Shuri.

During the challenge, as M’Baku talks about the things he disagrees with in Wakanda, one of them is “a child” being in charge of the technology. In the comics, M’Baku specifically wants to get rid of all of the futuristic tech in Wakanda. He also, at one point, kidnaps Shuri. So, that brief moment struck me as a nod to that.

So, I’ll also note here that M’Baku is a big departure from the comics, but a lot of things were kept to provide a nod to the source material. Like Nakia calling him the “Great Gorilla” when she meets him because the villain name Man-Ape is pretty racist, no? Her term is more a sign of respect. The skin he wears over his shoulders? A nod to him killing a White Gorilla in the comics in a ritual that gives him the strength and stamina of the animal.

(Also, side note: the movie cut, but set design kept, the Jabari tribe loving the wood from a sacred tree in the mountains and using that to build their homes with. It’s in direct contrast with the high tech Vibranium. Winston Duke also worked with a dialect coach so his rhythms would be closer to different Nigerian dialects instead of South African dialects to differentiate himself from the rest of the main cast, setting the Jabari apart from the rest of Wakanda. It was also his idea to do the barking/grunting sounds as a nod to the comic book source material, but to give the Jabari a way to make an entrance and shut people up.

Okoye complains about that wig.

Honestly, this only struck me because Danai Gurira has to wear a massive wig for her role as Michonne on The Walking Dead. I know she’s spoken at length about loving that role, but I immediately thought her character’s hatred for wigs was a nod to the fact that she spends so much of the year in one.

The Pan African flag.

The stripes of the Pan African flag are green, black, and red, so when Nakia, T’Challa, and Okoye walk into the underground gambling ring in Korea and stand at the guardrail, you’re seeing that flag brought to life. (And for those who think that’s reaching for symbolism, Ryan Coogler confirmed in an interview that was the intention of the costuming decisions in that scene.)

Stan Lee’s cameo.

We all recognize Stan Lee by now, but in case you missed him, he’s one of the gamblers. He talks to Agent Ross and takes T’Challa’s winnings when he leaves them behind.

“Every breath you take is mercy from me.”

T’Challa says this line to Klaue in the movie, but in the comics, he said it to someone else. He said it to Namor following the arrival of Thanos in Wakanda. T’Challa and Namor have a complicated frenemy-ship, we’ll say. I kind of hope Namor (since the rights are back with Marvel) gets to make his debut in a Black Panther movie.

Vibranium from Sokovia.

When Agent Ross and T’Challa chat in the casino, Ross mentions the guy he’s dealing with also having been traced to the events in Sokovia. So, just in case you needed another big flashing sign for an MCU connection, there you go.

The story of El Dorado.

Klaue tells the story of a Golden City, and how people searched for it in South America. In addition to trying the movie to the legend of El Dorado, it’s also a nod to the capital city of Wakanda in the comics, called the Golden City. It’s where the royal family lives and where most of the activity takes place in the comics.

Another broken white boy.

When Shuri makes the comment that there’s another broken white boy for them to fix (after the CIA agent is brought in to have his spine repaired), I actually didn’t think about the fact that Bucky Barnes was cryogenically frozen in Wakanda for safe keeping, though I’m sure plenty others did, but of Hunter, T’Challa and Shuri’s adopted brother. T’Chaka saved the boy after his parents died in a plane crash over Wakanda and raised them with his children. Hunter grew to be jealous of T’Challa and the leader of the War Dogs. He was a sometimes enemy of his adopted brother. Of course, the post-credit scene makes it clear that Bucky is standing in for Hunter since the kids even call him by Hunter’s comic book name, “White Wolf,” even if the timeline doesn’t quite add up.

The influence of African cultures.

Yes, Black Panther is a comic book movie, but Black Panther also takes a whole lot of inspiration from different African cultures. For example, the Dora Milaje are inspired by the Dahomey Amazons, an all female military group that essentially died out after the mid twentieth century. The costuming, the body modification, the language, and even the hairstyles in the movie are all rooted in different African cultures. This twitter thread does an amazing job at explaining so much of what you see in the movie.

It’s also worth noting that you won’t see a Wakandan character in the movie with relaxed hair. Why? The country was never colonized. I believe it was Lupita Nyong'o who explained in interviews that the idea of relaxing kinky hair was brought about by colonizers shaming Africans for their looks. Because Wakanda has never been colonized, the residents have pride in something as simple as natural hair.

War Dog assignments.

The “War Dogs” are referenced several times, but outside of Nakia being called a spy, there’s not a whole of information about them. So, the term War Dog is actually in reference to the Hatut Zeraze, which are the “secret police” in Wakanda in the comics. T’Challa actually disbands them when he becomes King because he doesn’t like the idea of sending out people to assassinate others around the world, which is one of their jobs. The movie appears to have made them literal spies instead of assassins.

Shuri’s gauntlets.

I’m sure a lot of people noticed that she built her gauntlets to resemble the heads of panthers. While that’s obviously a nod to the Black Panther being Wakanda’s hero, it’s likely also a nod to Shuri becoming the Black Panther in the comics. She takes her brother’s place when he’s gravely ill and she also becomes the Queen her country needs.

Over the waterfall.

The moment where Killmonger tosses T’Challa over the edge of the cliff? Taken exactly from the comics. T’Challa survives that fall as well, though he doesn’t get help from M’Baku in the comics since they were enemies as well there.

War Dog cities.

When Killmonger and W’Kabi discuss which War Dogs have responded to his plans to take over the world, they are in very specific cities. New York, London, and Hong Kong are mentioned. Those also happen to be the cities that house Sanctum Santorums in the Doctor Strange movie, which means they’re hot spots for magic, lines between realms, etc. (Though this could be a coincidence as they’re also well known and well populated cities that world wide audiences would recognize.)

Killmonger’s Black Panther suit.

I already mentions that he gets leopard-like spots on it, which could serve as a nod to Madam Slay’s leopards, but there’s more. Black Leopard was the name used for Black Panther briefly in the comics to distance the character from any politics. Killmonger also had a sidekick in the form of a leopard he called Preyy. The gold tones in his costume - and particularly the look of the necklace - are a direct callback to what the actual Black Panther suit most often looks like in the comics as well.

T’Challa wrestles a rhino.

The scene where Black Panther takes down a rhino? Pretty much exactly out of the comics. In his very first comic book run in Jungle Action comics - the run is actually called Marvel’s first graphic novel - he had to wrestle a rhino to the ground in the same way.

Alex R. Hibbert.

The young actor, famous now for his role in Moonlight, gets a cameo at the end of the movie as the little boy who chats with T’Challa about his ship. Ryan Coogler is a big fan of Moonlight and has said that the director actual gave him a lot of support in his career. Hibbert gets the last official line in the movie, though there is a mid credits scene and a post credits scene.

#black panther #black panther easter eggs #marvel comics #mcu #marvel easter eggs

[fashiontrendin-blog]

Letitia Wright has been named one of the world&#039;s most influential women

http://fashion-trendin.com/letitia-wright-has-been-named-one-of-the-worlds-most-influential-women/

Letitia Wright has been named one of the world's most influential women

She may only be 24 years old but Guyana born and Tottenham raised actress, Letitia Wright, is already a force to be reckoned with in Hollywood.

Having starred in Top Boy, Black Mirror and Doctor Who, Letitia’s star exploded when she landed roles in Black Panther and Avengers: Infinity War.

So, it’s little surprise that the superstar-in-the-making has been named one of Vogue’s 25 list of the most influential women working in Britain. Letitia joins the likes of Dua Lipa, JK Rowling and Amal Clooney.

Speaking about how she landed a place on the list, which it describes as ‘an extraordinary cast of leaders defining – and redefining – the way we live now’, Vogue say: “Her honesty when discussing her struggle with depression and speaking about her faith makes her the perfect pin-up for now.”

We couldn’t agree more!

Here’s what happened when we met Letitia on the junket of Avengers: Infinity War…

Black Panther not only introduced Letitia Wright’s Shuri into the Marvel Cinematic Universe, but also a blossoming friendship between the Wakandan princess and the Winter Soldier.

In Ryan Coogler’s film, Shuri is the genius scientist who helps Sebastian Stan’s Bucky recover from the HYDRA brainwashing that turned him into a relentless assassin.

Now back to his heroic best, the pair are set to face off against an even bigger threat in Avengers: Infinity War: Thanos – a seemingly unstoppable conqueror on a mission to collect all six infinity stones so that he can wield ultimate power over the universe.

Shooting these films meant long days in makeup and on set and Letitia says the best way she kept her skin clear was by keeping up an exfoliation regime.

“The Black Panther world taught me about the importance of exfoliating,” the actress tells GLAMOUR. “I would go home and get some really nice scrubs and scrub out of the dirt and the dust that’s been from a big day of fighting scenes.”

“But she would always look beautiful, she’s being very modest,” Sebastian adds. “I would tell you to go out and get sleep, obviously I’m not a good representative of that so don’t look at me for that but sleep is the way to go.”

“Sleep, water and exfoliation,” Letitia says.

A-Z Of Skincare: Everything you need to know for flawless, healthy skin

The pair had so much fun shooting Black Panther together and recalled the time director Ryan Coogler tried to give Bucky a man bun.

“I think we’ve really gotten it pretty well in this film and given the trajectories of Bucky’s hair, it’s been pretty good,” Sebastian says. “I remember when we did our scene and Ryan [Coogler] was like “why don’t we put it in a bun?” and I was like “like a man bun?”

“And you were contemplating, ‘how’s he going to do this with one hand?’” Letitia adds.

“Yeah, yeah! ‘How’s he going to do that with one hand?’” Sebastian continues. “And he was like “the kids did it!”

The duo got on so well that they’ve even got a great idea for a Marvel One-Shot, which is a direct-to-video short film produced by Marvel Studios.

“I’d like to see her teach Bucky how to dance,” Sebastian says.

“Yes! I was just thinking that,” Letitia interjects. “Now, do you know what the ‘Milly Rock’ is? OK it was a dance that was created a little while ago and it was called the Milly Rock and you’re like whooping flies.

“So, on set, I was teaching him how to do the ‘Milly Rock’ with one arm. So I think we would have a dance competition, learn a few things. We ended up on the lake, so boat rides and stuff.”

“She would have Bucky re-do the Titanic and ‘I’m the king of the world!’” Sebastian adds.

Watch the full interview here…

Avengers: Infinity War is in cinemas on April 26