The Trump Administration has declared war on Black history.

By way of executive orders, the administration has taken aim at not only DEI initiatives, but Black history taught in classrooms across the country and at the Smithsonian’s National Museum of African American History and Culture. These executive orders, along with the threat of withholding federal funding, garner compliance from the education community, which is a disservice to Americans of all ethnic groups.

Thankfully, our society has teachers of a different kind—those whose unique talent bring Black history to life on film, teachers like Ryan Coogler.

Related

Last weekend was the release of his newest project, "Sinners," a vampire horror film set in the Mississippi Delta in 1932. "Sinners" debuted at number one at the box office, making $48 million domestically, the highest-grossing opening for an original film released so far this decade. It also received a record 98% movie review score from Rotten Tomatoes.

Coogler’s use of history is a weapon for the people against the fascism of the Trump administration and their acolytes.

This past weekend, "Sinners" took in $45 million, grossing $122.5 million in North America and $161.6 million globally since its release 11 days ago.

The weekend success of "Sinners" shows that vampire renderings on film (and television) remain popular among the masses of film and television consumers. It also proves that movies featuring a predominantly Black cast can dominate a big box office weekend, such as the "Black Panther" franchise (directed by Coogler) and "Coming to America." Stars like Will Smith, Denzel Washington and Jamie Foxx have already shown that a Black lead in a movie can dominate a weekend. "Sinners" proves that Black history isn’t a sin and that teachers of Black history aren’t sinners. In fact, "Sinners" unapologetically teaches Black history within its plot, and viewers responded with a box office take of $48 million.

Michael B. Jordan as Smoke and Stack in "Sinners" (Courtesy Warner Bros. Pictures). The Trump Administration doesn’t simply view Black history as the enemy of whiteness, but as the perfect foil to exploit whiteness amongst their base to pick their pockets in order to consolidate power. Erasing the history of

© Salon