Black Panther storms the next Wakanda window in South Africa.

Marvel’s Black Panther film is digging in its claws and will likely mint even more money as the movie moves to the next Wakanda window in South Africa and Africa: streaming, pay-per-view and DVD sales.

The film that smashed records – scoring the biggest opening for a Marvel Studios in South Africa, the third biggest opening weekend ever in South Africa, the biggest opening weekend of all time in both East and West Africa, and that became the all time top-grossing film in South Africa – is now hoping to cash in on the home entertainment window as it exits cinemas.

Since last week Monday Black Panther is now available for rental on MultiChoice’s DStv BoxOffice service, as well as on iTunes South Africa.

A breathless Cell C in a press release on Tuesday last week, 19 June, was so over-eager to hype Black Panther, that it incorrectly tried to claim that its subscription video-on-demand (SVOD) service, black, has Black Panther "exclusively".

"The global Hollywood blockbuster, Black Panther, is back in South Africa amid widespread demand for the hit movie. It is now exclusively available on South Africa’s newest entertainment platform, black," said Cell C.

Besides being available as streaming and TV pay-per-view options, T’Challa (Chadwick Boseman) is also available on DVD and Bluray with The Walt Disney Company that is looking to make even more money than the over R107 million Blank Panther already earned in South Africa since its 16 February release in theatres.

The Black Panther Bluray release includes bonus material like deleted scenes, a gag reel, outtakes and several making-of featurettes which detail the Black Panther’s evolution, the remarkable women of Wakanda, the history of T’Challa’s proud nation, and the cosmic origin and technological applications of vibranium. 

Also included are a roundtable discussion with the Black Panther filmmakers and writers; a featurette tracing the countless connections between heroes, characters and storylines within the Marvel cinematic universe and a sneak peek at Ant-Man and the Wasp.

An African-born Wakanda? Time for Africa's science fiction content creators to come up with their own stories, telling it their way, says Ghana's science fiction writer Jonathan Dotse at MultiChoice's 5th Digital Dialogue Conference.

Have you seen Marvel's recent Black Panther screen adaptation and how African audiences embraced it? It's time for Africa's science fiction content creators to come up with their own science fiction stories, telling it their way instead of relying on just one perspective like that from the Western world.

Jonathan Dotse, an Afrofuturist from Ghana and a science fiction writer, was one of the speakers at the 5th edition of the Digital Dialogue Conference that took place in Dubai in the United Arab Emirate (UAE) this week, organised by MultiChoice.

MultiChoice didn't invite any South African journalists or media to the conference facilitated by the satellite pay-TV operator, and there was no advance media advisory or notification.

The Digital Dialogue Conference is centred around gaining a better understanding of the future direction of the video entertainment industry across Africa as a whole.

According to a summary of his speech provided by MultiChoice in response to a media enquiry, Jonathan Dotse said that together with the success of Black Panther, Afrofuturism is experiencing a resurgence, with a thirst for new perspectives on African stories that can grab the attention of wider audiences.

"Back in 2009, I attempted to write science fiction, however, I was trying to write it from an African perspective but found it difficult to find a believable foundation to build my content," Jonathan Dotse said.

"My ideas were based on a Western perspective so I began to think more about Africa and science fiction in a constructive and realistic way while creating awareness for the lack of Afrocentric narratives in the genre."

Jonathan Dotse said that the African-American diaspora has played a critical role in the recent resurgence of Afrofuturism, referencing various creative works lie the Woyaya album by Ghanaian Afro-pop band Osibisa, the American fiction writer Octavia Butler, the American jazz composer Sun Ra, the American musician Janelle Monae, as well as films like Les Saignantes by Jean-Pierre Bekolo, Pumzi by Wanuri Kahui from Kenya, Robots of Brixton by Kibwe Tavares, Kajola by Niyi Akinmolayan in Nigeria and South Africa's District 9 by Neill Blomkamp.

"Expressions of Afrofuturism are present in all facets of African and African-Diaspora creativity," said Jonathan Dotse. "The African-Diaspora has played a significant role in advancing defining Afrofuturism while various independent movements spurred much of the creative energy".

According to Jonathan Dotse, Afrofuturism has lead to a reawakening of self-identity among African youth, and said that Afrofuturism also helps to grow young people's interest in science and technology - and increases the accessibility to the tools of digital media creation and distribution.

Jonathan Dotse said that the "future prospects" of Afrofuturism includes a reconnection of traditional African culture with modern concepts of development, and reconstructing the missing pieces of Africa's lost history in technology to drive young people in "futurist" thinking.