Something I've been thinking about since watching #WakandaForever is how much of the film, whether intentionally or not, mirrors one of the greatest war epics ever written: Homer's Iliad.
Both stories feature a clash of two rival civilizations. And, more importantly, while featuring a large cast of main characters, both stories focus on a protagonist who has to grapple with the loss of everything they hold dear in life.
Achilles in the Iliad grapples with a prophecy that dooms him to die young. And he also faces a leader that publicly dishonors him (a big deal in Greek culture) along with the loss of his closest friend.
Shuri on the other hand faces the loss of all the people she cared deeply about. And in the face of these heart-wrenching losses, both Shuri and Achilles come to the same conclusions: nothing matters in a world full of this much pain. All that's left is blind vengeance.
Both challenge their culture's moral order as a result--and in a way that deals with the afterlife. Shuri questions why anyone should value the desires of the dead if there isn't any life after death and ignores SPOILER's wishes in order to fulfill her quest for vengeance.
And before he fully commits himself to vengeance, Achilles likewise bucks his culture's moral order by demeaning the Greeks' quest for glory. Because what's the point of it accumulating glory if it all leads to the same pitiful after life?
The big similarity, though, and the one that first caught my attention, occurs at the end. Because in the face of so much loss, what finally deters both characters from nihilistic revenge?
When they look their enemy in the face and recognize that their enemy has /also/ suffered.
Through a poignant memory sequence, Shuri is led to recall all the events that happened to Namor's family and to see herself in the man she hates.
And while Achilles does kill his hated nemesis in the Iliad, afterward, he's brought face-to-face with his nemesis' father. In one of the most poignant scenes I've read in ancient literature, he then proceeds to weep with his enemy over everything both of them have lost.
And for both characters, as they look their enemy in the eye and either physically or metaphorically weep with them for their shared losses, grief is the path to healing and restoration of self.
There are several other similarities I could touch on. Both characters lose a key loved one about the same structural place in the story. Both have an "armor-forging experience" soon after. And if I were to grossly oversimplify things, both plots revolve around a kidnapped woman.
But the similarity I'm most interested in is how both stories point toward the importance of communal tears to the process of healing after unimaginable loss. And in how one of the most important things we can do is to be able to see ourselves in our personal & political foes.
These themes are what have made the Iliad my favorite work of literature the more times I've read it.
And they're also why I view #WakandaForever as one of the few sequels that manage to exceed the original.
One of my pet peeves lately has been the number of critics speaking dismissively of a work just because it engages in too much "fan service."
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You see the charge lobbed against #NoWayHome. "It's just a fan service film!" Similarly against the worldbuilding of #TheBookofBobaFett. And, of course, against the whole story of #Endgame as well. The movies have big fan-pleasing moments; therefore, there must be a problem. 2/
Fan service is certainly a legitimate issue that /does/ bog down certain stories (even some of the above).
The problem is that not all fan service is bad. It's good for stories to please the fans after all! And so we need to distinguish healthy fan service from bad uses. 3/
Comparing this shot from the new #EpisodeIX trailer with this one from Episode 8 says a lot about Abrams' & Johnson's different approaches to symbolism--and why I prefer Abrams' use over Johnson's, even though Johnson's is arguably deeper. (THREAD)
Just look at that scene of Rey, Poe, and Finn overlooking the shattered Death Star there. Bask in it for a moment and feel the ominousness seeping through the setting. A /ton/ of emotions are being conveyed through that 3-second shot. 2/
Abrams understands something important about well-done symbols: namely, how much they can set the tone of a scene and emotionally move an audience just by being there. 3/