If we are to commit only one detail about Beyoncé to our collective memory forever, it should be this: She never gives an ounce less than her entire being to anything she does. When whispers of her involvement in the photorealistic remake of Disney’s The Lion King began, there was a tacit understanding among fans that it might lead to more than an acting role—especially when high-profile artists like Pharrell, Ariana Grande, and Kendrick Lamar are more commonly tapped to produce and curate entire soundtracks. And with such a beloved story, it was only a matter of time before Beyoncé would offer something truly special beyond another film credit in her otherworldly portfolio.
But when she released The Lion King: The Gift, a collection of original tracks inspired by the film, it became clear that it would function as something deeper than a soundtrack. Songs like “Bigger” and “Brown Skin Girl” embraced Blackness so intentionally, expressing sentiments that extended beyond a single film. Black Is King, a nearly 90-minute-long visual companion to The Gift created by Beyoncé for Disney+, recontextualizes the album as a broader celebration of Black identity, and it arrives not a moment too soon. During a time when the country is starting to have a more robust conversation surrounding systemic racism, this special event is not only a timely statement but also a fitting blueprint for aggressive—if not radical—self-acceptance. The film’s lessons, overtly tailored for Black audiences, are as vehement as the artist herself: Black is not just beautiful; it is glorious. It is not enough to love ourselves; we must regard ourselves as royalty.
For the new companion film, Simba’s coming-of-age story is translated into one of a Black boy’s journey from infancy to adulthood, as he navigates identity, love, and self-acceptance. Through a parade of breath-snatching vignettes filmed across a number of continents, the visual spectacle reveres the inherent beauty of the Black diaspora. Appearances from Lupita Nyong’o, Wizkid, Kelly Rowland, Naomi Campbell, Adut Akech, Pharrell, Tierra Whack, and others inject the effort with the kind of star power that one would expect from a project of this magnitude. It’s the latest from an artist who continues to place culture directly at the center of whatever she touches, a bold choice in an industry that often discourages aggressive cultural expression from anyone who isn’t white.
Black Is King reconfirms a notion that many understood back in 2016 with Lemonade: When it comes to pairing strong, resplendent imagery with equally rousing music, the only person who can potentially outperform Beyoncé is Beyoncé herself. Each track is presented with a distinct ethos, ranging from intimately minimal to thoroughly opulent. Black history, traditions, fashion, and storytelling bind the video collection together to paint a larger, richer picture that speaks to the vastness of Black culture. The imagery is so arresting, in fact, that the main story, while loosely holding each moment together, takes a backseat to the lush scenery, vibrant wardrobe, and captivating choreography.
While each song shines in its own right, certain moments are transcendent. “Brown Skin Girl,” a reverent ode to all shades of Black skin, is so visibly tender and emotional that it’s difficult to do anything other than bask in its overt love. The visuals set to “Mood 4 Eva” are as carefree and indulgent as the song that inspires them, following Beyoncé and JAY-Z as they revel in ostentatious wealth, complete with gem-encrusted grills, ornate eyewear, and lavish gowns. (It’s also a prime moment for rather slick product placement, as JAY-Z’s arrival is met by three servants in track suits by Adidas, one of his business partners.) It’s an energizing moment bolstered by gorgeous hues and sumptuous fashion for days.
It also illustrates a fair criticism that larger-than-life artists like Beyoncé have long received when they equate racial prosperity with the kind of obscene wealth that most people will never experience. On its own it might feel out of touch. Within the context of Black Is King, it’s just another potential incarnation of Black joy that is balanced with the down-to-earth jubilation seen in “Already” and the gorgeous “Keys To The Kingdom.” Not only do Beyoncé’s natural sensibilities shine here and throughout the film, but stylistic choices by African directors and filmmakers like Kwasi Fordjour, Emmanuel Adjei, and Blitz Bazawule elevate the result into something that digs beyond aesthetics and shows an authentic appreciation for the culture’s ancestral roots.
Black Is King is a culmination of a year’s worth of work, and it brings impressive duality to an album that was once primarily connected to someone else’s story. Now this particular set of music—some of which resonates much deeper with the help of stunning backdrops—feels more wholly representative of the artist who once again chose to think bigger.
32 Comments
Thrilled this is apparently good if only so we can use it to replace any memory of that piece of shit remake from last year. This is the only Lion King-related project featuring Beyonce! I remember no other!
The remake really did stand in the way of me giving fully over to it. If she had randomly decided to use the original Lion King as a loose framework as an album and sample dialog from it, I would have likely thought it was insanely brilliant but instead the dialog clips took me out of it a little bit. That is not in a fair or valid criticism, but that is what was going on in my brain.That said, since it was a companion piece to the Lion King, I thought Mood 4 Eva was a pretty obvious analog for Hakuna Matata which would mean it’s shallowness is the actual point. It is kind of impossible for her to do anything without it seeming aspirational though. Whatever she does, she does it better than most.
Lol can you imagine if someone had the balls to give this a negative review? They’d be ripped to shreds.
I kind of wish Lester Bangs could be forced from beyond the grave to write a review for this…
Real music criticism died years ago. Any writer who dares to critique any popular artist is immediately buried by armies of angry stans.
Taylor Swift fans were issuing death threats over a recent 8/10 review (on Pitchfork, I think). I mean, it wasn’t even a negative review, yet the slightest criticism sent her stans into a wild rage. At this point Beyonce could release a goregrind album of Anal Cunt covers and everyone would gush with praise. Although I have to admit, I’d REALLY want to hear that.
That would at least be interesting
No one listens to this fat cow, racist, lip-syncing shemale anymore.
There you are!!! It’s Friday! What’s my bashful little badger mad about today?
Blurst! Also, are people so afraid of the Beyhive that they won’t comment?
I don’t comment because I always get stuck in the greys.
Oh there are comments, but mostly assholes. See grey comment -“Racist title” and then they go on, shit like that. I feel meh about Beyonce. Even when intrigued and if actually take a moment to watch her stuff I usually think eh, it’s fine. It’s like a beautifully crafted and perfectly polished thing. It’s extremely intentional … this isn’t quite a compliment in my book. She’s not weird or terribly interesting, but I understand why people like her.
On the same boat. She’s made great music but extremely intentional is a good summary
That’s a bit harsh.I’m sure this film will inspire thousands of young, strong, independent white women everywhere.
meh , she’s overrated.
Something tells me the demographics of visitors to the site might have something to do with it.
Yeah, but you think all the old white guys would at least have some negative comments then…
The most moving moment in this film for me is it’s most subdued. The scene when Bey tearfully places the basket holding her son in the Nile – an obvious biblical reference – gave so much to a story that is usually told so matter-of-factly.
“Bey tearfully places the basket holding her son in the Nile – an obvious biblical reference”No pressure kid! You just have to deliver us
You were moved because you are an idle consumer who buys every charade thrown at you. You’re a hit at gameday sales.
Who hurt you?
Had it playing in the background while I was working from home, more than one time it grabbed my attention. Between this, folklore, Boltcutters and Gaslighter, there’s like a low key female renaissance happening right now in mainstream music, it’s fantastic
Beyonce’s songs are mostly written by white middle class men.
All of Beyonce’s merchandise is made in sweatshops by slave labor, and she needs like 15 people to write songs for her.
This is why the “look at how many collaborators/producers Beyonce has on her album lol what a pop hack” talking point was always stupid. Beyonce is an artist with an incredibly distinct creative vision, and she knows exactly how to realize it—if her work has a gazillion collaborators, that’s because that’s how many it needs to get it precisely the way she wants it. True, it helps that she has infinite money and a Rolodex thicker than Atlas Shrugged, but money can’t buy taste, and Beyonce undeniably has excellent taste.
You may be right. But, we’re assuming Beyonce has a “distinct creative vision” and has complete control over the creative process. Do we know if that’s the case? I am not agreeing or disagreeing with you. I like Beyonce. Obviously she is talented.
Beyonce, whatever else you care to say about her, exercises complete control over her image and her work. I can’t imagine she’d be laissez-faire about things.
Famously, no she doesn’t. She turns up, sings the words put in front of her, then leaves again and lets her producers, writers and publicists do the rest. The publicity playbook is a photocopy of Michael Jackson’s – use an army of underpaid creatives to generate an air of quiet genius and godlike reverence and let the hype breed hype. Her songs are mostly excellent, but also mostly written by men who are more often than not white. Take a stroll through the credits of any of her tracks, there are usually a dozen people involved, and some of the songs weren’t even written for her, they were written by songwriters and bought by her team to suit the sound they think will help her sell the most. There are some brilliant talents involved in creating her music and her videos and her image, but it’s not her singular vision.
Racist title.Id understand if it said black king.MLK said equality is about all races equal, not one being better than the other.Same with feminism, a leader in a feminist community Sommers said, one sex isn’t better than the other It’s about both sexes being equal.
I really enjoyed this. I loved how joyful and vibrantly alive it felt.
“Beyoncé’s Black Is King is an unfettered celebration of Blackness”This is almost an Onion headline
Remember the US’ fascination with Australia back in the 80’s? Thats about how ridiculous all this is gonna look 30 years from now.