The show, brought to us by Maria Brock-Akil and Salim Akil, has a pointed message: too often, black pain is ignored or stuffed down, either to keep the peace or just so to stay alive. But at some point, enough is enough, and black pain turns into black power. In this case, that power is taken from subtext to text, with Jefferson revisiting his ability to generate and control lightning.
Jefferson’s pain isn’t just hinted at; it’s shown to us in stark moments, like the opening sequence which shows Jefferson as a well-regarded principal in his town and a few minutes later, he’s the victim of a racist police pullover. The pain is both external and internal, when his oldest daughter Anissa (Nafessa Williams) argues with him about his style of protesting–which could be critiqued as playing to respectability politics–versus her style of protesting, which is much more in line with today’s Black Lives Matter movement and other grassroots movements.
— Black Lightning (@blacklightning) January 17, 2018
This particular argument is something I feel will come up in the show over and over again, as it’s an argument that is happening in the real world all the time. It’s a discussion I often argue with myself over–technically I’m a “millennial,” but I’m of the older set; I’m much closer to Generation X than I am millennials, and on top of that, I’m someone who has always felt older than her age. I understand why Jefferson is more concerned with what looks like “keeping the peace” and focusing more on education and, to be blunt, status. For Jefferson, the way out of the existential predicament African Americans are in is through higher learning, and for many of us, including me, that’s what we were taught. I feel like I’m of the last generation when The United Negro College Fund was prominently on TV, drilling the catchphrase “A mind is a terrible thing to waste” in our heads. We were literally taught that the only path forward for us, the only path towards being treated with humanity and dignity, was through attending college, attaining that quintessential “good job with a 401K,” and getting that house in the suburbs.
However, there’s the other side of me that knows that protests are the only way we’ve been able to attain even that level of privileged thinking. The blood sacrificed for us to even establish a college fund means something, and to honor that, we have to continue putting ourselves on the front lines in whatever way we can. We have to fight for ourselves and our humanity, otherwise, the rights we have will be taken away from us. The Black Lives Matter movement and other movements like it are essential to the ongoing conversation our nation has had about race, privilege, power, and humanity.
But, as Jefferson pointedly said to Anissa, many young activists forget that the same older people they deride for playing “respectability politics” were fighting the good fight longer than they’ve been alive. The disconnect between the generations sometimes results in unnecessary animosity, with both sides not wanting to come together in the middle and recognize the similarities. The Black Lives Matter Movement, Movement for Black Lives, Dream Defenders, and others are just the ideological grandchildren of SNCC, CORE, the NAACP, the Black Panther Party, and others. Recognizing the history shared and coming together to develop solutions for going forward should be part of today’s activist movement instead of the isolation and chiding I’ve seen among some younger activists and some of the older generation.
It’s this combustible combination of a society gone rampant with fear and police brutality coupled with activism in the social media age that have put Jefferson between a rock and a hard place. At his core, he is an activist. A vigilante, even–Black Lightning is the scourge of the police, but beloved by many in his city. But as a father and a man who wants to reconcile with his wife Lynn (Christine Adams) after his do-gooding split them apart, Jefferson just wants to be able to work, come home, and have his family safe in America. He’s a hero who doesn’t want to be a hero, but is often called to be one. I think that’s one of the more interesting things about Jefferson as a character. It’s similar to how Marvel’s Luke Cage didn’t want to be a hero, but was called to be because the community needed him.
This calling is often the hallmark of black superheroes in both Marvel and DC Comics. Whereas some white or white-passing superheroes like Superman can think of heroism as a luxury, black superheroes arise because no one else will help them. A superhero has to be borne out of necessity. There was an episode of Superman: The Animated Series that shows the origins of Steel; in many ways, his story is the same; Superman wasn’t holding things down in Steel’s neck of the woods, and he had to rise up and take care of the crime in his community. What’s odd is that I don’t remember Superman ever getting called out on his oversight.
Overall, I feel Black Lightning is setting up to be, like Luke Cage was when it premiered in 2016, the superhero we need for these complicated and excruciating times. Black Lighting, like its Marvel counterpart, shows how these “feats of daring-do” can speak to our current fears and hopes. These characters might be fictional, but the carry a very real weight. They can also, when put in the right hands, carry messages to help us learn and grow and, hopefully, become better, more compassionate human beings towards each other.
A key moment of this is when we see how Anissa is affected by almost every black male villain in this episode calling her a bitch or pulling a gun out on her. Black men take a lot of abuse, no doubt, but black women take a very different and very specific kind of abuse, one that’s leveled by men outside and within the race. This type of abuse leveled against black women by black men can be intellectualized and understood–as shown on the last season of Underground, abuse within the black family can be traced back to slavery, when some black men would take out their aggression for their white slavemasters onto their black wives, who had no recourse for help or understanding outside of their home or in the nation at large. It’s shown in The Color Purple, in which Whoopi Goldberg’s character Celie is a constant victim and Oprah Winfrey’s character Sofia talks about the sexual and physical abuse she’s faced from every man in her life, including her own husband. But that doesn’t make the lasting effects of it in today’s society any less painful. After being jerked around, called ou of her name, kidnapped, almost forced into prostitution, and nearly killed, Anissa has had enough. Now, like her father, her own powers bubble up from black pain and become transmuted into strength.
— Black Lightning (@blacklightning) January 17, 2018
Black Lightning airs Tuesdays at 9/8c on CW.