“Ta-Nehisi, Brian, colorist Laura Martin, letterer Joe Sabino, assistant editor Chris Robinson, and I have been working on this series for months already, so we’re happy to have a launch date as we’re all anxious to start getting this book out in front of people,” series editor Wil Moss told Marvel.com. “We may be biased, but we think it's something pretty special!”
A few months ago, I was fortunate enough to be contracted to work on Marvel’s Black Panther. I didn’t want to say too much before I got started, but now, with a few scripts in, having gotten comfortable with my editors, and having been blown away by Brian Stelfreeze’s art (early sketches of which you see here), I’m feeling a little better. With that in mind, my hope is, from time to time, to update you guys on the process of making the thing.
I guess I should start by saying I’ve never done this before. I expect that there will be stumbles and screw-ups on my part. My nightmare basically involves this turning into some sort of stunt or vanity project. I did not take this on to look pretty, or add a line to my CV. I took it on for the same reason I take on new stories—to grow intellectually and artistically. In this case it’s another genre—fictional, serial story-telling—one a good distance away from journalism, memoir, and essays.
Still I find myself falling back on old principles. I’m a writer who really values organization. I value it even more when saddled with the relatively high probability of failure. In that regard, my basic approach has been as follows:
1.) Read a ton of back issues and try to think about what I find interesting (Ramonda) and what I find less interessting (M’Baku.) 2.) Get a detailed outline done of all the issues I was contracted to write. 3.) Write those scripts early in order to give Brian, and my editors, a chance to tell me what I am doing wrong. 4.) Revise the outline regularly, as events (and finished scripts) dictate a need to change. That has been the plan. Having a plan doesn’t guarantee success. But not having a plan probably guarantees failure.
One thing I did not count on was the extent to which the art would shape the story. Brian’s thoughts on T’Challa, and his supporting cast, have been invaluable. You can see the fruits of collaboration in the image above. After talking back and forth we came up with some new ideas for how T’Challa’s famed Vibranium-weave suit might work—in this case, absorbing kinetic energy and allowing him to fire that energy back out in short energy bursts. “Energy bursts” almost gets it wrong—think “force-push” not “optic blast.” All the old powers are there—enhanced senses, agility, peak-human strength, etc. But this idea (and others) really came out of Brian’s thoughts—not just on the suit—but on the properties of Vibranium itself.
Writing, for me, is a lonely exercise. I pitch an idea to my editors and then I disappear for awhile. There are a few regular check-ins, but generally the next thing they see from me is a draft. Black Panther has been different. There’s a lot more collaboration and conversation. Barely three days go by in which I don’t talk to Brian or my editor, Wilson Moss.
I’ll have more to say about that process as the days go on. For now, enjoy some of Brian’s (awesome) concept art. I’ve seen some of his penciled pages already. They’re glorious. I’m trying to keep up.
The story of the coronavirus in the state is one of government inaction in the name of freedom and personal responsibility.
IOWA CITY, IOWA—Nick Klein knew the man wasn’t going to make it through the night. So the 31-year-old nurse at the University of Iowa ICU put on his gown, his gloves, his mask, and his face shield. He went into the patient’s room, held a phone to his ear, and tried hard not to cry while he listened to the man’s loved ones take turns saying goodbye. When they were finished, Klein put on some music, a muted melody like you might hear in an elevator. He pulled up a chair and took the man’s hand. For two hours that summer night, there were no sounds but soft piano and the gentle beep beep beep of the monitors. Klein thought about how he would feel if the person in the bed were his own father, and he squeezed his hand tighter. Around midnight, Klein watched as the man took one last, ragged breath and died.
Even works of escapism are reckoning with waning national myths.
Last month, the Institute for Advanced Studies in Culture at the University of Virginia published its most recent survey of American political life. One of its findings: 66 percent of Americans view their country to be in a state of decline. The survey arrived just after the publication of the latest Social Progress Index, which found that the United States is one of only three countries where citizens are worse off than they were in 2011, when the index started tracking quality of life. The deterioration is all the more perverse because the failures, in a country as rich as the U.S., are not material, but cultural. They are abdications of moral imagination. As one of the index’s advisers put it, in an observation both evergreen and newly acute: “We are no longer the country we like to think we are.”
The pop star’s career is a case study in courting public expectations by rebelling against them.
“I’m everything they said I would be,” Miley Cyrus sings, her voice dewy with disappointment, on her new album, Plastic Hearts. She’s apologizing to a lover she let down. But who’s the “they”? It’s you, the listener. It’s the imagined audience of Hannah Montana, the fictional pop star Cyrus portrayed in her early teens on the Disney Channel. It’s the actual audience of Hannah Montana who tracked Cyrus into adulthood. It’s the casual fan and casual hater, the pundits and influencers, and the friends and rivals. It’s basically everyone—because for the general public, people like Cyrus exist as examples of what fame does to a human life.
Cyrus knows by now that the concept of Miley Cyrus can’t be separated from the expectations that have followed her since tweendom (and maybe even before, as the daughter of the country star Billy Ray Cyrus). As she morphed from kid’s TV idol into tongue-wagging pop provocateur in the early 2010s—and then, across the decade, spent time as art punk, queer activist, and demure folkie—she has been ridiculed as excessive, desperate, fickle, insensitive, immature, and bad at twerking. She has never really bothered with countering the criticism. She has, instead, seemed to become more Miley with every phase, and by flipping her finger to the public, she’s only drawn more interest. Cyrus’s rowdy new album, out last Friday, is one of her stronger provocations.
On Wednesday, the United States broke 100,000 coronavirus hospitalizations for the first time ever.
Today the United States blew by two grim pandemic milestones. The country recorded a record 195,695 coronavirus cases and reported 100,226 hospitalizations, passing the 100,000 mark for the first time, according to the COVID Tracking Project at The Atlantic. While the 2,733 deaths today did not break the all-time record, this was the first day since May with more than 2,500 deaths, as well as the day with the second-most deaths so far. (By TheNew York Times’ methodology, today’s was the highest daily coronavirus death toll on record.)
These shocking numbers came on the same day that CDC Director Robert Redfield warned that this winter could be “the most difficult time in the public-health history of this nation” and as public-health experts await signs of a post-Thanksgiving surge. Some of today’s increase can be attributed to the numbers catching up after an expected holiday data lag, but it’s also reflective of a bad reality that is poised to get a lot worse as pandemic winter comes into view.
Justices’ drive to promote “religious liberty” may only become more intense.
Updated at 12:45 p.m. ET on December 3, 2020
The Supreme Court’s decision last week overturning New York State’s limits on religious gatherings during the COVID-19 outbreak previewed what will likely become one of the coming decade’s defining collisions between law and demography.
The ruling continued the conservative majority’s sustained drive to provide religious organizations more leeway to claim exemptions from civil laws on the grounds of protecting “religious liberty.” These cases have become a top priority for conservative religious groups, usually led by white Christians and sometimes joined by other religiously traditional denominations. In this case, Orthodox Jewish synagogues allied with the Roman Catholic Diocese of Brooklyn to oppose New York’s restrictions on religious services.
Americans will soon grow tired of the president, despite his efforts to stay in the limelight.
President Donald Trump has made one thing painfully clear: After he grudgingly leaves the White House, he will keep doing what he can to stay in the news. He will tweet insults and conspiracy theories. He may start his own television channel. And according to members of his inner circle, he may even run for president in 2024.
After half a decade under his spell, many pundits and political observers assume that Trump will succeed in keeping the nation’s attention. I can see why. A sizable minority of Americans believe that the election was stolen and remain deeply devoted to the outgoing president. Even now that Trump’s loss has liberated the GOP from its captor, elected Republicans seem to be suffering from a bad case of Stockholm syndrome. And the 45th president has proved, again and again, that he has a real talent for staying in the limelight.
The show treats domestic violence like a striptease.
Updated at 9:46 p.m. ET on December 2, 2020.
This article contains spoilers through the series finale of The Undoing.
The Sunday finale of The Undoing was the most-watched episode of any HBO show since the last episode of Big Little Lies. The Undoing is a whodunit about the murder of a woman found, by her fourth-grade son, with her décolletage displayed and her face in pieces. Sex sells, according to the old advertising adage. Clearly violence does too. And the intermingling of sex and violence is a winning formula for HBO.
Art depicting intimate violence has found an audience since ancient times. Take the third-century-B.C. sculpture of Gaul killing his wife, or the two miniseries released in 2016 about O. J. Simpson’s role in the murder of his ex-wife.* Despite the A-listers who star in it, The Undoing is no more than a costly, glossy, schlocky melodrama. But perhaps because of its cast, and the enviable lifestyle reproduced on camera, the show is attracting a lot of attention.
Looking at the long views from the Hubble space telescope might be good for you.
In December of 1995, astronomers around the world were vying for a chance to use the hottest new tool in astronomy: the Hubble space telescope. Bob Williams didn’t have to worry about all that. As the director of the institution that managed Hubble, Williams could use the telescope to observe whatever he wanted. And he decided to point it at nothing in particular.
Williams’s colleagues told him, as politely as they could, that this was an awful idea. But Williams had a hunch that Hubble would see something worthwhile. The telescope had already captured the glow of faraway galaxies, and the longer Hubble gazed out in one direction, the more light it would detect.
So the Hubble telescope stared at the same bit of space, nonstop, for 10 days—precious time on a very expensive machine—snapping exposure after exposure as it circled Earth. The resulting image was astounding: Some 3,000 galaxies sparkled like gemstones in the darkness. The view stretched billions of years back in time, revealing other cosmic locales as they were when their light left them and began coasting across the universe.
Democrats need elected officials to do what Trump never did: Accept responsibility. Absorb criticism. Come back and campaign better.
Updated at 11:01 a.m. ET on December 3, 2020.
For weeks, President Donald Trump has spread misinformation by playing up the significance of voter fraud during the election without evidence, while playing down the significance of COVID-19, despite the evidence all around him. He has left his followers infected in more ways than one, harming themselves and others.
But misinformation is hardly new for the birther theorist, for the wall builder who said some Latino immigrants were animals and rapists, for the chanter of “Lock her up” and “Send her back,” for the caster of neo-Nazis as very fine people, for the framer of peaceful demonstrators as looters and anarchists, for the denier of climate change and racism.
The country has bet that, outside the EU, it can better regulate its economy to become more competitive.
“This is going to be a fantastic year for Britain,” read the tweet, posted by Boris Johnson. Underneath, the prime minister was pictured staring resolutely into the camera, both thumbs up in the air. The date was January 2, 2020—11 months ago, but seemingly from a different world.
Surveying the scene in the last month of 2020, far from being a fantastic year, one in which Britain would unshackle itself from the European Union and chart a new path after years of Brexit weighing on its politics and society, it has been a horrible one in almost every way. In raw figures, the country fared worse than almost any other, suffering tens of thousands of deaths and significant economic pain. It spent more tackling the virus than many of its neighbors, implemented stricter shutdowns, and still lost more lives. At the very moment it was preparing to “take back control” from the EU, it appeared to have lost control of itself.