A team of white Hollywood producers fabricate a movie to help the Black Panther co-founder escape to Cuba in this six-parter.
, the change-of-perspective standalone episode has become a way to deliver a contained short story within a fuller novel — to remind viewers that every supporting character has a different prism through which they process events.should be “The Big Cigar,” a change-of-perspective standalone episode within a definitive 10-part limited series about the Black Panthers.
The problem is that it’s hard to exactly articulate who Newton was at that particular moment in history. He was traumatized and paranoid and had little resemblance to the iconic figure he was in the late 1960s, when the picture of Newton sitting in a wicker chair holding a rifle in one hand and a spear in the other becamearchetypal representation of the resistance. The Black Panther party also wasn’t the same institution in 1974 that it was five years earlier.
It isn’t a full whitewashing. Newton is damaged and self-obsessed and self-destructive, but the dominant tone is still one of general adulation and consistent evasion of anything that would permanently obscure that. An assault on a tailor is treated as a joke and featured only off-screen, while the murder that Newton is wanted for throughout the series is acknowledged only as a fabrication by the police, which wasn’t exactly the case .
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