A painting of a Confederate flag and a mural depicting a lynching have been removed from the walls of a Tennessee school gymnasium.

Another ouch by Russell Rickford

Black Panther has become a cultural phenomenon unparalleled by any other in recent memory. Rapturous audiences have all but deified the blockbuster film, a remake of a comic book tale about a superhero from the mythical African nation of Wakanda.

Viewing the movie has proven especially cathartic for those sweltering under America’s racial politics. With white nationalists on the march and government agencies seemingly conspiring to exacerbate the suffering of people of color, Black Panther’s spectacle of ebony elegance offers more than entertainment; it is a fountain of sweet tea in a searing desert.

Given the dearth of affirming black images in popular media, the impulse to lionize the film is understandable. But Black Panther is more than a celebration of black dignity and sophistication. It is also a discourse on freedom, a dreamscape that draws on black traditions of imagining and seeking to build ideal societies beyond the reach of white supremacy.

Black Panther demands critical examination because utopian visions are unavoidably political; they are among the tools with which oppressed people attempt to draft a just future. Unfortunately, anyone committed to an expansive concept of Pan-African liberation — one designed to free African and African-descended people throughout the world — must regard Black Panther as a counterrevolutionary picture.

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Ouch.