LOS ANGELES — Actor Michael B. Jordan revealed he sought professional therapy to “decompress” after portraying the antagonist Erik Killmonger in the 2018 Marvel blockbuster Black Panther. During an interview on CBS Sunday Morning, the Sinners star explained that the process of fully immersing himself in the character’s isolation and trauma left a lasting emotional impact that persisted after filming concluded.
To prepare for the role, Jordan intentionally isolated himself and limited communication with family to mirror the character’s lack of emotional support. He noted that the character was shaped by betrayal and systemic failure, which required Jordan to internalize significant anger and frustration. Jordan emphasized the importance of “talking” to process the experience, noting that there is no established “blueprint” for navigating the psychological toll of intense character work.
Directed by Ryan Coogler, Black Panther earned three Academy Awards and grossed $1.349 billion worldwide.
The Psychological Cost of Immersion: Beyond the Screen
The revelation that Michael B. Jordan required therapy following his performance in Black Panther highlights a growing conversation regarding the psychological hazards of immersive acting. While audiences view the finished product as entertainment, the “journey” to inhabit a character—particularly one defined by trauma—is often a solitary and taxing endeavor.
Jordan’s preparation involved a deliberate severance of social ties, a technique often used to achieve authentic emotional resonance. By mimicking Erik Killmonger’s lack of “love” and his history of “betrayal,” Jordan essentially conditioned his psyche to exist in a state of perpetual anger and frustration. This type of Method-adjacent immersion can blur the boundaries between an actor’s true self and their fictional persona.
The “blueprint” Jordan refers to is the missing industry standard for mental health support in high-intensity roles. In the same way that a stunt performer uses physical safety protocols, modern actors are increasingly advocating for “emotional decompressing” as a vital part of the production cycle. Jordan’s experience underscores that “talking” is not merely a personal choice but a professional necessity to shed the residual weight of a character’s trauma.
