The Defenders’ Biggest Problem? The Hand

I’d like to return the last 12 months, please; I think they’re faulty. Politics have been detonated in favour of unpredictable scandal, beloved stars were taken too soon, and – on a much less significant note – Netflix’s spotless Marvel run is blemished with misfires. Iron Fist wasn’t exactly flavour of the month, for instance. Although it’s a fun ride with many saving graces (including Jessica Henwick’s Colleen Wing), it didn’t live up to the standard Daredevil, Jessica Jones, and Luke Cage set. Similarly, pacing in The Defenders left many scratching their head. It found its feet before the finale, but there’s no escaping the fact that it took two or three episodes for the cast to even meet.

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I’m not sure the Hand were the foes these heroes deserved – concept art by Joe Quesada

It also pivoted away from some of Daredevil’s more interesting ideas. Because of this, I hope we’ve not seen the last of the Hand; there’s so much more that can be done with them.

Spoilers for The Defenders follow, so don’t read any more if you haven’t seen it – you crazy person, you.

Back when the Devil of Hell’s Kitchen pranced around in a bandana, the Hand were an enigmatic force we barely understood. Horrific taskmasters who blinded their servants to ensure compliance, they dabbled in supernatural goings-on that were never explained. What on earth was that little boy in the shipping crate? The showrunners wisely kept this a secret.

As such, revealing their leaders to be embittered K’un-Lun students who just want to go home is underwhelming. The reveal makes perfect sense and creates synergy with Iron Fist, but it always felt as if there was something more than human about the creepy (yet strangely likeable) Madam Gao. Something demonic, perhaps; she can punch grown men across the room, disappear at will, and move things with her mind. Those aren’t tricks you learn from monks in a martial-arts dojo.

Accordingly, leaving Gao with such a pedestrian backstory reduces her mystique. She’s abruptly less scary.

Equally, we never saw a resolution for that carriage of sand Daredevil stumbled across in his second season. This sent goose-bumps up my arms; in the comics, the Hand’s soldiers are undead ninjas who collapse into ash when destroyed. How chilling would it be for our heroes to see dust coalescing into demon-kin around them? Except that element was promptly forgotten for The Defenders in favour of normal grunts who were bizarrely averse to guns, so I hope we see it again in his third outing.

Finally, can we please do something with the man Stick reported to after his first appearance (the scarred one who seemed to lead the Chaste)? He’s disappeared into a gaping plot-hole, much like any explanation as to what a Black Sky is. We’re still none the wiser on that latter point despite The Defenders showering us in bluster about how they’re prophesised to lead the Hand to victory. It initially seemed like they were powerful vessels for a supernatural presence, but then we learned that they were just great at kung-fu. Or something. Fingers crossed we get a solid and more satisfying answer before long.

You see, there’s still so much that can be done with the Hand; pushing them off the table after The Defenders finale would therefore be a waste. Seriously, ask anyone who’s read a comic featuring them. Here’s hoping we go back to their creepy, inexplicable air from the first season Daredevil.

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Are the Sinister Six Out There in Spider-Man: Homecoming? Nah, Probs Not

Please excuse me – I’m still quietly screaming over Spider-Man: Homecoming. Funny, heartfelt, and true to the character in a way the other movies didn’t quite manage, it was both familiar and deeply novel. What a cracker of a film.

Naturally, the internet’s already getting over-excited about what its sequel might feature.

Watch out! Spoilers for Spider-Man: Homecoming follow. Duck and run for cover if you’ve not seen it yet.

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Is Spidey’s rogue’s gallery about to get more… Sinister? Concept art by Ryan Meinerding

The most popular theory is based on a blink-and-you’ll-miss-it quote from the mid-credits sting. After winding up in prison for his high-flying antics, the Vulture is approached by petty crook Mac Gargan (a small-timer that Spider-Man stopped in the ferry scene) and is pressured to reveal the webhead’s identity. According to Gargan, there are some ‘interested parties’ who’d like to get their revenge on the teen superhero. Cue an evil get-together for the next film.

Many have assumed that this refers to the Sinister Six, a classic team of villains who all want Spidey dead. It’d be an intimidating line-up for any cape-wearing do-gooder, never mind one who’s only 15; although their roster changes on a regular basis, the Sinister Six often count Doctor Octopus, Electro (last portrayed by Jamie Foxx), the Vulture, and Green Goblin amongst their number. The idea is clearly on rightsholder Sony’s mind, too. Prior to the current deal that allows Spider-Man to appear in MCU movies, it was a concept the Amazing Spider-Man series was setting up for a solo film. As such, some think that these baddies must have already crossed paths with the new version of Spidey.

I call bull on that one, however. Firstly, I’m not sure Marvel would want to repeat villains that have been handled before in other incarnations. We’ve seen three different Green Goblins in the last twelve years, for example.

It’s also implied in Captain America: Civil War that Peter’s never fought other superpowered people before – this is his first time. While that can be easily reversed, the period after his battle with Cap can’t; a big feature of Homecoming is Iron Man stopping him from fighting anything other than street muggings and theft. Because of this, the goons Mac Gargan is referring to are probably small-fry gang members or Spider-Man’s less powerful foes (Mysterio is just a bloke with clever gadgets, for instance). The theory is suddenly a bit less exciting. Look out, it’s the Big Wheel! Yes, they are exactly as stupid as they sound.

Not that this makes Gargan’s plan any less dangerous, of course; he’s well known in the comics as Scorpion, an insane killer with a suit designed specifically to take down the wallcrawler. I wouldn’t be surprised if the Vulture’s tech expert (the Tinkerer) has something to do with that.

What’s more, he could always recruit some extra muscle if needed. Kraven the Hunter is another villain who wants the ultimate kill – Spider-Man – and Hugh Jackman was tweeting something about being ‘partners’ with Disney recently… Just sayin’.

Nebula’s a Better Fit Than Gamora for Guardians of the Galaxy – Come At Me, Bro

As the torrent of superhero movies gushing from Hollywood can attest, comics are a treasure-trove of inspiration to draw from. With hundreds of characters and a half-century of storylines to choose between, this isn’t a well in danger of drying up soon (whether that’s a good thing or not is rather more complicated). However, they can also clip a film’s wings. Despite their whimsical brilliance – and I’ll hear nothing else, dammit – Guardians of the Galaxy: Volume 2 and its predecessor suffer from this a little thanks to resident badass Gamora.

Sibling rivalry. Concept art by Andy Park

She often feels like a third wheel, for instance; there’s a whiff of her only being there to kick-start the adventure and/or because she’s a corner-stone of the comic iteration. Although Gamora’s vital in saving the day, she often seems to be facilitating the plot of others rather than following her own arc. She’s arguably the team’s least-developed member because of this; where Star-Lord learns to let others into his life, she doesn’t really change from beginning to end. While Drax and Rocket must move on from their past by accepting a new family, Gamora’s moment of growth – turning on her adoptive father and rediscovering morality after all she’s done – happens before the story gets started. As a result, I wonder whether her vicious sister Nebula wouldn’t have been a better fit for this team. There’s so much potential for growth with the latter.

Menacing, tragic, and unhinged, she’s arguably more compelling than her straight-laced counterpart. Gamora always earned daddy’s praise for a job well-murdered, so Nebula was ripped apart and replaced with robotic bits to make her the former’s ‘equal’. That’s a significant knock to your ego. Moreover, being kidnapped and turned into Thanos’s right-hand killer has left Nebula a broken husk who refuses to let herself feel lest it hurt her. In comparison, Gamora doesn’t seem too weighed down by the guilt of what she’s done. While she’s trying to make up for it by stopping the film’s villain, it leads to a predictable (if acerbic) stoicism. I’m not sure she has a huge amount of depth. Meanwhile, Nebula is emotionally volatile and ready to blow. She’s every bit the killer we’re told Gamora is… yet rarely get a sense of. That redemptive path Nebula’s following is ripe for narrative conflict. I’m not not sure Gamora’s is.

Simply put, it feels like Nebula would have made for a more nuanced Guardian than Gamora (all the same, Zoe Saldana’s great in the role and the part is well-written… even if it leaves me cold). She’s a damaged young woman desperately trying to prove her worth, and that’s a hotbed of stories waiting to happen.

As such, I’m glad she got plenty of screen-time in the sequel. More for Avengers: Infinity War, please!

Guardians of the Galaxy: Volume 2 is the Best MCU Movie (Drops Mic)

I’ve recently been smacked around the head by an epiphany. After seeing Guardians of the Galaxy: Volume 2 and squeeing like a squeezy dog-toy, I now understand what everyone’s banging on about when they say that superhero movies should be fun. Although I’ve got a lot of time for grittier versions (a la Man of Steel or Logan), a film that goes for your sense of humour is arguably more… enjoyable? Is that the word I’m looking for? Anyway, you leave the cinema content that all is well with the world and practically bouncing along the pavement. You also get many, many quotable memes out of it. As such, I’d peg it as the best movie in the Marvel Cinematic Universe since the original. Fight me.

Something good, something bad… a bit of both? Concept art by Andy Park

This is thanks to its refusal to take things too seriously. Volume 2 is wonderfully irreverent, poking fun at itself while bringing back 80s nostalgia with a raised middle-finger. The film isn’t afraid to get weird either – and I mean properly weird. When it’s not using daft locations from the comics (including a living planet, of all things), it’s diving into well-worn tropes that are given a self-deprecating twist. There’s the obligatory ‘follow your heart’/realisation-of-great-power moment that’s shunted off kilter by a certain videogame character, and this is preceded by a ridiculous father-son game of catch mid-way through the story. Guardians knows that it’s silly, so everything’s very tongue-in-cheek. I suppose this is only fair when you’ve got a film starring sentient trees and a talking racoon.

Another bullseye is its strong character-development, of course. Karen Gillen’s Nebula benefits from this in particular, as does Michael Rooker’s brilliant Yondu (out-of-context quote of the day: ‘I’m Mary Poppins, y’all’). The main cast’s arcs aren’t quite so strong this time around, but they still get a thumbs-up as well. The only other MCU franchise that can match it in this regard is Captain America, or – and I know I’ll get stick for this – Iron Man.

Basically, Guardians of the Galaxy: Volume 2 hits all the right notes: it’d love nothing more than for you to just enjoy yourself. Seriously, go see it.

Logan: What Happened to the X-Men?

Days of Future Past was a great send-off for the X-Men, all things considered: although we’d watched them be systematically murdered over its two-hour run-time, the final scene (which showed the team alive and well) ended their story on a satisfying note. After six films of heartache, they’d finally gotten their happy ending. However, Logan shows us that we spoke too soon. The X-Men are gone a mere six years later, mutants are dying out and the gruff but heroic Wolverine is a battered shell of his former self. Even Professor X is a husk of what he once was, stuffed out of sight in an overturned water-tower and babbling incomprehensible Shakespeare. It makes you wonder where everything went wrong.

Discussing that takes us into spoiler territory, so be warned – come back later if you’ve not yet seen the movie. The reveal is handled brilliantly, so I wouldn’t want to ruin it for you here.

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No matter what, it’s a far cry from the X-Mansion – concept for Logan by Shae Shatz (via i09

Logan may not give us much to go on, but the scant information it does provide is nothing short of heartbreaking. We learn that several people (upwards of 600, in fact) were injured in an event the film calls the ‘Westchester incident’: as a news anchor points out after the climactic battle in a casino, the effects of this were eerily similar to those seen when Xavier has his seizures. More distressingly, seven mutants were killed in this disaster. Because Westchester is the location of Xavier’s famous school, the implication is clear.

The fact that Professor X’s illness left most of his students in danger is devastating, especially considering how many of them were children. Indeed, while most assume the mortalities were classic X-Men – and director James Mangold alludes to as much – it’s possible that some of those victims were children in the first place. It would certainly add more incentive for Wolverine to keep the truth from his ailing mentor. For a teacher whose pupils’ safety is their highest priority, this is more damaging than any supervillain could hope to be.

Either way, it’s a deeply tragic turn of events. The X-Men thought they’d escaped the end of days but it found them nonetheless. The horror of not knowing exactly what happened makes things infinitely worse, meanwhile: we’re left hanging when it comes to our favourite characters. Are the likes of Cyclops, Jean Grey and Storm still alive? We’ve got no idea. As Logan’s writer points out, those deaths may not even have been of characters we knew.

That said, we can do some reading between the lines here. Jean is almost certainly a casualty. As one of the most powerful mutants out there, I can’t imagine she’d drop off the radar. Her demise would also emotionally destroy Wolverine all over again, adding to the cynicism that oozes out of his every pore in this movie. He went through hell and back to change the X-Men’s past, so things still going wrong would utterly break him. It’s a similar argument where Storm and Beast are concerned. They’re much too influential not to leave a footprint on Logan’s world, yet there’s little sign of mutants beyond Wolverine’s friends or the children they’re trying to save.

The only hero I can see making it out alive is Kitty Pryde, mostly thanks to her ability to phase through matter. Could she be hurt if intangible? Who knows. I suppose the likes of Cyclops could have survived and faded into obscurity too because of his penchant for angst, but I say that mostly because I’d love to see a story that adapts recent comics where he’s a Magneto-like extremist.

I don’t suppose it matters. Life sucks anyway if you’re a mutant by the time we hit Logan, regardless of whether you were present for the Westchester incident or not. Disturbingly, the mutant race went out with a whimper rather than a bang this time: thanks to foodstuffs that attack mutant-genes in carriers, no more can be born. In a dark twist, the DNA of older mutants is also co-opted as for experiments like Laura. Judging by our protagonist’s desperation to reach the Canadian border, we should probably assume that it’s one of the few countries with any protection left for Wolverine’s kind. Things are truly grim.

That’s a recurring theme of the ­X-Men franchise since Days of Future Past – the more things change, the more they stay the same. We see this clearly in Logan. While the timeline’s been altered, the events of prior films seem to have happened in one way or another in spite of the change. Professor X references the Statue of Liberty from the original movie, Wolverine still has his X-Men Origins dog-tags and he’s held onto the samurai sword from The Wolverine. One of the only alterations is the revelation that Wolverine had a drug-problem, a virgin career in cage-fighting and a position as an assassin when he was found by Xavier in this new reality. It’s reminiscent of the Ultimate comics version of the character, a series where he was employed by Magneto to kill Professor X.

We’ll probably never see how things shook out, of course – it’s much more powerful it’s left to our imaginations. The upside, though? We’ll just have to watch it again and see if there’s anything we missed. What a shame.

Check back every Friday for a new blog celebrating the characters, worlds and craft of geeky pop-culture.

Here’s Why Sorcerers Didn’t Appear in the MCU Before Doctor Strange

Comics have some truly cracking catchphrases. “It’s clobberin’ time” and “great Caesar’s ghost” immediately spring to mind. However, the ever-iconic Spider-Man quote “with great power comes great responsibility” outdoes them all. Despite being over 40 years old, it arguably remains the best-known of all superhero quotes. That resilience probably has something to do with the fact it’s true; influence and ability can do a lot of good, but they also have the potential to be abused. This is a danger history makes very clear.

The world of magic is a strange place. Concept art by Marvel.
The world of magic is a strange place. Concept art by Marvel.

Bearing that in mind, it’s no wonder magicians are so secretive within the world of Doctor Strange. They’re some of the strongest players on the field. Namely, no manner of high-tech suit can match the ability to manipulate time or hurl your opponent into another dimension. Even thunder-god and painfully well-built Thor would struggle when combating a sorcerer who can travel across space at will. Consequently, it’s a talent that must be rigorously monitored and/or protected from those who’d abuse it. The film’s villain and its finale demonstrate just how devastating a wizard gone bad can get.

That’s my response to the question of where these magic-users were in prior movies. Besides being kept busy with mystical threats (up to and including demonic monsters Captain America simply isn’t equipped to handle) the risks of such an ability can’t be sniffed at. They also explain why those like Stephen Strange wouldn’t want it to become common knowledge. While every Tom, Dick and Harry would want to use it for petty gain, shady characters abusing magic is a scarier proposition. When criminals and generally nasty pieces of work can manipulate the weather or summon demons, I dread to think what’d be left of anyone caught in the middle. What could the average shmuck do against that? It’s David vs Goliath, except Goliath can summon weapons from thin air or fire portable bombs from their fingertips. As an example, political assassination would be a breeze when you can just warp into your victim’s office.

Accordingly, Tilda Swinton’s Ancient One must have the last word on ‘strict’. We see this through her harsh entry requirements. There’s little indication of sorcerers operating outside her order either, so I’m guessing she’s got a monopoly on the market. Why is another matter, though. I can’t imagine hers is the only school of magic out there. Do they scoop up any would-be magicians before they can make a mess or stamp out rival organisations? It’s a question that’s never really answered, and the resulting speculation heightens her menace.

It opens a fascinating can of worms too. Because Merlin, wizards and classical monsters are part of Marvel’s comic canon, we’re left to wonder if they exist in the film universe as well. Were the Salem witches ‘real’, for instance? Is Bigfoot an actual thing? What about vampires and werewolves? The possibilities are endless, and that’s an exciting prospect for this series going forward. Considering how crowded the superhero market is right now, a fresh twist can only be a good thing.

Luke Cage is Right – Secret Identities Don’t Work

Netflix’s Marvel shows put a bullet in the head of daydreams; they underline how becoming a paragon of truth, justice and the American way can’t possibly end well. You’re more likely to end up in a hospital ward than the front page.

Unlike his Hell's Kitchen counterpart Daredevil, Luke Cage doesn't bother with masks - concept art and poster by Marvel
Unlike his Hell’s Kitchen counterpart Daredevil, Luke Cage doesn’t bother with masks – concept art and poster by Marvel

Being beaten to a pulp would be the least of our worries, though. Keeping your secret identity that way is probably nigh-on impossible in the modern age. Perhaps Luke Cage has the right idea. The eponymous hero – currently living in Harlem – doesn’t bother hiding who he is. Biologically altered until practically nothing can hurt him, he’s an everyman who looks out for the average Joe. No masks are required when bullets bounce off your oh-so buff chest.

It’s probably for the best. Even if it can halt a 10mm slug, unbreakable skin can’t stop cameras. That’s a very real possibility nowadays. Appearing on CCTV is more of a certainty than a what-if thanks to recent surges in public surveillance. Although you could argue society’s better for it, the last few decades have seen us dragged into something of an Orwellian nightmare. Today’s world is one of scrutiny, electronic tracking, traceable e-commerce and phone tapping. According to the NY Daily News, cities such as New York boast around 17,000 CCTV cameras. In the meantime, London has ‘roughly half-million’ at its disposal. Good luck trying to avoid those when you need to pull on your cape and tights.

I appreciate that this is the equivalent of stamping on a child’s favourite toy, but the straightforward romance of twentieth century comic books is a thing of the past. From the medium’s golden age to its 1960s resurgance, closed-circuit cameras were a rarity. It wasn’t until 1968 that they started appearing on major US streets, so disappearing into an alleyway to change was still plausible. Now’s a very different story. As the UK reality series Hunted demonstrates, escaping detection is difficult when someone with time and a whole team of staff wants you found.

The programme’s elevator pitch is a stroke of genius; how long can a handful of average people last when they go on the run? Following both fugitives and pursuers, it’s terrifying to see how much info Big Brother has at its disposal. Unless you’re well-trained, obsessively paranoid or exceptionally lucky, you’re almost guaranteed to be tagged by someone’s surveillance system. Moreover, they’d track down most unsubtle disturbers of the peace – e.g. your average superhero – in ten seconds flat. The only characters I can see avoiding this are the likes of Superman, Spider-Man and Batman. One can travel or change at superspeed, another literally dons his costume on the side of skyscrapers and the last has enough cash to make suitably cool tech that’ll cover his tracks.

Unfortunately for them, security cameras aren’t the only way to keep track of someone. Besides email and browser history, the long arm of the law can track your buying habits as well. When you’ve got no powers to rely on and need down-to-earth gear keeping you safe it’s a disaster waiting to happen. Police can trace that kind of purchase if they’ve got a warrant to do so (and know what they’re looking for, of course).

Amazon’s therefore out of the question, leaving under-the-counter cash transactions or an outfit you’ve put together yourself. And if that’s the case, why are you in the superhero business anyway? You could make a killing selling cosplay costumes.

In essence, escaping the fuzz would be difficult should you take the law into your own hands. They’d have a lot of reason for wanting you found, good intentions or not; you’d be a vigilante who leaves assault and property damage in their wake. I dread to think what the legal ramifications of that could be. Just imagine a thug suing you for breaking his arm.

Not having a secret identity might save you a lot of hassle in this regard, but – as anyone who’s ever seen a superhero story knows – this won’t end well. You’ll make enemies, and if they know where to find you they’ll hold every card.

With that in mind, working with the authorities or receiving proper training isn’t the worst idea going. That’s the crux of Iron Man’s argument in Captain America: Civil War, and in a real-world context it doesn’t seem so unreasonable. 

I wonder if Luke Cage’s decision to fly solo without protecting his identity will come back to bite him. Judging by his stablemates Daredevil and Jessica Jones, it’s pretty much a foregone conclusion.

Want Captain America: Civil War’s Spider-Man To Stand Out? Make Him a Star

It didn’t matter that his name was in the title: I struggled to give two hoots about Captain America going into Civil War. It’s all Spider-Man’s fault. The character’s been dragged headfirst through one too many duff movies recently, so seeing him back on form (and integrated into Marvel’s Cinematic Universe) was nerd nirvana. Better yet, nobody felt the need to dredge up his origin again. He’s a kid who can stick to walls, shoot webbing and generally flout the laws of common sense . We get it.

Going back to basics - concept art by Ryan Meinerding
Going back to basics – concept art by Ryan Meinerding

Still – and I hate to admit it – diving right into the action does have one snag. It closes doors. Although I’m loathe to rehash old ground (nobody needs to see Uncle Ben bite the dust for a third time), starting later in Spidey’s career makes it tricky to explore some of his best material. There’s only so much you can do with the flashbacks I’m sure we’ll get during Spider-Man: Homecoming.

Back when he hit the stands in 1962, superheroes were flawless champions of a vanilla variety. By contrast, Spidey was flawed before and after gaining his powers. Rather than beginning as a crime-fighting do-gooder, Peter Parker stumbled on the idea by accident; in fact, he was more interested in making a quick buck. After winning the wrestling match we saw in Sam Raimi’s Spider-Man, Peter became an overnight celebrity. His stunts would sell out auditoriums and he was featured on TV talk-shows. Then Ben’s murder came knocking. Unsurprisingly, the fun was sucked out of stardom. Being Spider-Man wasn’t just a reminder of Peter’s biggest mistake. It personified the arrogance that’d caused his uncle’s death in the first place. The only reason he kept appearing on stage was to pay for the bills his family couldn’t afford, not to mention his Aunt May’s medical care.

Things got steadily worse from there. When an accident left him barred from performing again, Peter answered the call for photos of a wanted felon – Vulture, who’s due to make his debut in Homecoming – and ended up stopping him as a happy by-product. This became a regular occurrence with supervillains such as Sandman and Electro until the wise-cracking boy-scout we have today was born. It’s a shame we won’t get to see that on the big screen. At least, not all of it. For me, Peter’s reluctant heroism is a crucial part of what makes him stand out.

All the same, there’s evidence to suggest Spider-Man has already been through this trial by fire before we meet him in Civil War. A quick browse of the Marvel Cinematic Universe wiki would suggest he’s already causing a stir amongst journalists when Ant-Man takes place. Remember the reference to folk who can swing or cling to walls? Considering how soon after being bitten by the radioactive/genetically altered spider this must be, Peter’s clearly been showing off. In a world of thunder gods and green rage monsters, he’d have to if he wanted to get their attention. I love the idea of him making waves on a programme like America’s Got Talent. It modernises a classic comic arc and leaves room for the hero worship that made him so unpopular with media outlets (enter J. Jonah Jameson and The Daily Bugle. Dan Slott’s excellent Learning to Crawl explored this idea a couple of years ago. Inspired by Spidey’s exploits, another high-schooler followed Peter’s example and tried to play at superheroes. He then took things too far and became his idol’s first enemy.

Even if future films skip that plot, this version seems to take inspiration from another we didn’t see enough of in the last two iterations. Indeed, Peter seems every bit as hard-up for cash as his comic equivalent. Besides a cobbled-together 90s computer and his habit of raiding dumpsters for kit like a cheap-as-chips DVD player, his first concern when meeting Tony Stark was the money he could bring to the table. This suggests he and Aunt May aren’t so well off as her catwalk-worthy fashion sense and their swanky flat would suggest. Are they struggling to keep up with the rent now Ben’s gone? Could May be pulling extra shifts to compensate as with The Amazing Spider-Man 2? Perhaps this is why Peter’s concerned about her ‘freaking out’; the demands of her job might be stretching her too thin. If Marvel wanted to emulate the comics, this might even be chipping away at her health. If you want to go down the rabbit hole further still, maybe she’s got something like Chronic Fatigue Syndrome that makes working difficult for her. I know how much of a pain in the tush that can be.

Anyway, we’ll probably get answers as to what Spidey’s been up to next year when Homecoming comes out. But for now? I’ve got my fingers crossed it’ll explore this side of the character. It’s what makes him who he is in my eyes, and it’s also what makes him different. Not just from the competition; from prior versions as well.

Enjoy this post? Come back every Friday for more! In the meantime, follow me on Twitter @thewordyben