“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.
Despite the easing of taboos and the rise of hookup apps, Americans are in the midst of a sex recession.
These should be boom times for sex.
The share of Americans who say sex between unmarried adults is “not wrong at all” is at an all-time high. New cases of HIV are at an all-time low. Most women can—at last—get birth control for free, and the morning-after pill without a prescription.
If hookups are your thing, Grindr and Tinder offer the prospect of casual sex within the hour. The phrase If something exists, there is porn of it used to be a clever internet meme; now it’s a truism. BDSM plays at the local multiplex—but why bother going? Sex is portrayed, often graphically and sometimes gorgeously, on prime-time cable. Sexting is, statistically speaking, normal.
The backlash against the incoming congresswoman’s “very nice” outfit is both tedious and predictable.
Earlier this week, Alexandria Ocasio-Cortez posted a tweet: At congressional events, she shared (the representative-elect of New York’s 14th Congressional District is currently in Washington for a series of orientations on the workings of the House), she keeps being mistaken for an intern. Or sometimes for the spouse of the person who must be the true new member of Congress. Ocasio-Cortez, a young woman who is also a woman of color who is also a democratic socialist—a politician who won her election, earlier this month, with 78 percent of her district’s vote—keeps getting told that she doesn’t quite belong in Congress. Her tweet sharing that experience was punctuated by a face-palm emoji. It went viral.
The total number of smartphone users worldwide will reach an estimated 3 billion this year—here’s a look at the visual landscape.
According to reports issued by several market-research firms, including Forrester Research, the total number of smartphone users worldwide will reach 3 billion this year—40 percent of the human population. For many, these versatile handheld devices have become indispensable tools, providing connections to loved ones, entertainment, business applications, shopping opportunities, windows into the greater world of social media, news, history, education, and more. And of course, they can always be put to use for a quick selfie. With so many devices in so many hands now, the visual landscape has changed greatly, making it a rare event to find oneself in a group of people anywhere in the world and not see at least one of them using a phone. Collected here: a look at that smartphone landscape, and some of the stories of the phones’ owners.
Between 1 and 5 percent of U.S. adoptions get legally dissolved each year. Some children are put up for “second-chance adoptions.”
The little girl in the photograph squints and smiles broadly in the sunlight. According to a now-deleted public post on Second Chance Adoptions’ Facebook page, the girl, who the agency calls “Reese” to protect her privacy, is 10 years old, and she has been a member of her family since she was born—first in foster care, then legally adopted just before her first birthday. She loves to laugh, her adopted mom says, and she smiles all the time. She loves pink. She has no special needs. But she needs a new home.
In other posts with more pictures, the reader learns that Reese is the youngest of four daughters; the other three are the biological children of her parents. She gets straight A’s. She loves her parents and her sisters. She grumbles only when her siblings ask her to clean her room. She rarely lies and loves to wear skirts and dresses and listen to music. But according to the information provided by her parents, “This family has drastically changed their lifestyle and have left their faith and extended family for a quiet, secluded life.” It is their hope that “a different family will step forward who can provide her with the socialization and continued relationship with God that she desires.” After spending her whole life thus far with her family, Reese was being advertised on Facebook and the internet at large as available for re-adoption.
The latest news about Facebook is a wake-up call that “leaning in” doesn’t mean doing right.
Back in 2013, many women of a certain ideological stripe and geographic location (D.C., New York, or basically any big city) wanted to be just like a woman most of us had only recently heard of: Sheryl Sandberg, the chief operating officer of Facebook.
With her blockbuster book, Lean In, she seemed to offer women a way—as long as we had nannies, an education, and smart biz-cazh attire—to finally get treated the way men do at the office.
The answer: It was on us. She had anodyne advice for being noticed: “Sit at the table,” literally. She had tips for tricking your boss into thinking you’re working harder than you are: “Holding my first and last meetings of the day in other buildings to make it less transparent when I was actually arriving and departing.”
Despite vast increases in the time and money spent on research, progress is barely keeping pace with the past. What went wrong?
The writer Stewart Brand once wrote that “science is the only news.” While news headlines are dominated by politics, the economy, and gossip, it’s science and technology that underpin much of the advance of human welfare and the long-term progress of our civilization. This is reflected in an extraordinary growth in public investment in science: Today, there are more scientists, more funding for science, and more scientific papers published than ever before:
On the surface, this is encouraging. But for all this increase in effort, are we getting a proportional increase in our scientific understanding? Or are we investing vastly more merely to sustain (or even see a decline in) the rate of scientific progress?
Protesters harassing prominent conservatives in their private lives fall short of the standards of civil disobedience.
Last Saturday night, a Fox News contributor named Kat Timpf was at a bar in Brooklyn. As she recounted the incident to National Review, a man asked her where she worked. A while later, she said, a woman began “screaming at me to get out.” Timpf walked away, but the woman followed her around the bar while other patrons laughed. Fearing physical attack, Timpf left. She told National Review and The Hill that it was the third time she has been harassed since 2017. A few months earlier, a woman yelled at her during dinner at a Manhattan restaurant. The year before, while she was about to give a speech, a man dumped water on her head.
Protests like these, that target people’s private lives, are wrong. They violate fundamental principles of civil disobedience, as understood by its most eminent practitioners and theorists. And they threaten the very norms of human decency that Trump and his supporters have done so much to erode.
Thicker ink, fewer smudges, and more strained hands: an Object Lesson
Recently, Bic launched acampaign to “save handwriting.” Named “Fight for Your Write,” it includes a pledge to “encourage the act of handwriting” in the pledge-taker’s home and community, and emphasizes putting more of the company’s ballpoints into classrooms.
As a teacher, I couldn’t help but wonder how anyone could think there’s a shortage. I find ballpoint pens all over the place: on classroom floors, behind desks. Dozens of castaways collect in cups on every teacher’s desk. They’re so ubiquitous that the word “ballpoint” is rarely used; they’re just “pens.” But despite its popularity, the ballpoint pen is relatively new in the history of handwriting, and its influence on popular handwriting is more complicated than the Bic campaign would imply.
The HBO adaptation of Elena Ferrante’s first Neapolitan novel is a strikingly faithful achievement.
When Lila Cerullo disappears at the beginning of Elena Ferrante’s first Neapolitan novel, My Brilliant Friend, it’s not a passive act but a violent one. Lila doesn’t vanish, she doesn’t evaporate; she erases herself, cutting her image out of family photographs as determinedly as she removes clothes from her closet. It isn’t enough for Lila to make herself disappear, Ferrante writes; she has to “eliminate the entire life that she had left behind.” But Lila’s ambition backfires—she’s more present in those butchered snapshots with their glaring voids than she was in photographic form.
Aggression and dominance saturate the Neapolitan novels as surely as alcohol suffuses limoncello, bitter and sharp. Elena, the narrator whose coming of age occupies the first book, emphasizes early on that her tales of growing up aren’t nostalgic, because her childhood “was full of violence.” Every relationship is portrayed as being a negotiation in power. Elena’s mother conveys to her daughter how “superfluous” she is; the girl’s father beats “Lenù,” as Elena is called, after being goaded by her mother, who insinuates that he’s not manly enough to hit his child. The central relationship in the novels, Lenù and Lila’s friendship, is defined by the fluctuating dynamic between the two, encapsulated in the twist at the end of the first book when the “brilliant friend” of the title turns out to be not Lila, as assumed all along, but Lenù.
A judge suggested that it’s unconstitutional to revoke a reporter’s press pass without providing a reason.
The books have undoubtedly been taken down from the shelves of Island Trees High School and Island Trees Junior High: well-thumbed copies of popular 1960s books including The Fixer by Bernard Malamud and Soul on Ice by Eldred Cleaver, they were probably sold long ago to a used-book outlet.
But they (or rather the empty spaces on library shelves they left) stand for a principle that is important to reaffirm in the dispute between the White House and CNN. The first round of that dispute was resolved Friday, when Judge Timothy Kelly granted the network a temporary restraining order requiring the White House to restore correspondent Jim Acosta’s “hard pass” to cover White House events.
The judge, an appointee of President Trump, made the order with some hints of reluctance, telling the courtroom that “I want to emphasize the very limited nature of this ruling. I have not determined that the First Amendment was violated here.” Instead, he ruled that CNN had shown the likelihood that the procedures used by the White House violated the Fifth Amendment, which binds the federal government not to deprive any “person . . . of life, liberty, or property, without due process of law.” The granting of the TRO indicates that the judge thinks CNN will likely win after a full hearing; but it doesn’t tell us whether that likely victory would be purely on procedure, or also on the important First Amendment questions raised by the case. (As of 5 p.m., Judge Kelly had not issued a written opinion and order.)