Spider-Man will be the new leader of what has to come. But we still don’t know who’ll be joining him and what adventures they’ll face

Before seeing “Spider-Man: Far From Home”, the big question on everyone’s mind, especially if you’ve the soul of a nerd and are concerned about the continuity of the Marvel Cinematic Universe, visual candy and popcorn saga unlike anyone else, was how they’d bring the story they’d already begun to wrap up with “Avengers: Endgame” full circle and where they’d leave off before studios started releasing the still shrouded in mystery Phase 4, which won’t happen before 2020 as there’s little time for much more this year.

Bear in mind that after the end of “Avengers”, most of the characters who’ve starred in the movies of what has become the longest and biggest grossing superhero saga in history are either dead, have aged, retired, or are lost in other galaxies.

The Avengers Project, therefore, is history, but we understand that there’ll be fresh threats against the Earth, or the entire cosmos, and someone’s going have to step up to offset all that wrongdoing. The world is looking for a new Iron-Man, and that’s how the second instalment of Spider-Man fits seamlessly into the franchise with the past and anticipates the present: Spider-Man will be the new leader of what has to come. But we still don’t know who’ll be joining him and what adventures they’ll face. Within a more ambitious narrative, this piece is important, but it is also a stepping-stone hinge movie. In every other aspect, “Spider-Man: Far From Home” works perfectly as a standalone project and should be viewed in this independent light.

Firstly, it’s great fun, ensuring audiences two hours of action-packed entertainment that fly by and, like so many other movies whose intentions are no more than that, in other words, they do not have the philosophical or political burden of a “Captain America: Civil War” or the last two of Avengers movies, it has the nutritional value of a strawberry ice cream compared to that of a bowl of ramen. The new Spider-Man is a youthful comedy with romantic overtones, sometimes likened to the world of John Hugues, or the boorish humor of certain movies like those of director Judd Apatow – but it is clearly not a Greek tragedy.

Secondly, as a romantic comedy complete with adventures, monsters, chaos and the all-important salvation of the world from deadly threat, the film runs like a swiss watch. And that should suffice because it’s never been what we’ve been promised – unlike Sam Raimi‘s unsurpassed “Spider-Man 2” (2004), when Spider-Man was a responsible adult, and not a child with racing hormones – , and surely there will be time for the character played by Tom Holland to mature, assume responsibilities and demonstrate his leadership capacity.

And finally, in spite of the light-hearted storyline, which was undoubtedly a necessity to introduce a lighter tone to the Marvel plot after a conclusion as heavy as that of Avengers, and on top of that, slap bang in the middle of summer, the movie has plenty of worthwhile value. The two Ant-Man movies worked in a similar fashion, like an unpredictable and cool villain who forces our superhero to get his thinking-cap on and not just to flex his muscles, coupled with a script is jam-packed with off the wall comedy.

In addition, just when it seemed all was once again righted in the world, the post-credits scenes provide audiences with a plot-twist in the Marvel Universe, shaking things up and leaving not only the Spider-Man franchise itself wide open and which’ll have to aspire to much greater feats from here on in, but also as to how these should be articulated within subsequent subplots.

So, we’ll just have to make sure to stay in good health and keep our eyes peeled until 2024, because this roller coaster of thrilling emotions is already starting to lay the groundwork to take a new turn. Phase 4 has all the makings of being great.

Javier Blánquez (Barcelona, 1975) is a journalist specialized in culture, editor and professor of the history of modern music.
He is a collaborator of different Spanish media -El Mundo, Time Out Barcelona, Beatburguer-, as well as the Barcelona publisher Alpha Decay, and has coordinated the collective book Loops. A history of electronic music (2002 and 2018), together with Omar Morera, for the publisher Reservoir Books.
In 2018 he also published, this time as author, the continuation, Loops 2. A history of electronic music in the 21st century.
As a result of his interest in classical music, which he has combined with electronic music for years, he also writes about opera in El Mundo and publlished in 2014 the essay Una invasión silenciosa. Cómo los autodidactas del pop han conquistado el espacio de la música clásica for the Capitán Swing publishing company.