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   Spider-Man Is the Best MCU Movie in Forever
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   Tom Holland finally gets some real pitches to hit.
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                     <p style="margin:0;margin-bottom:16px">
                      Let’s get this out of the way: the last Marvel movie I was into—like, really dug—was Sam Raimi’s
                      <a style="text-decoration: underline; color: #000000;">
                       <em>
                        Dr. Strange in the Multiverse of Madness
                       </em>
                      </a>
                      . The plot is all over the place, sure, but so are the distinct Raimi touches—horror flourishes, dark wit, kinetic setpieces—and those superseded all other nonsense to me. That should tell you a lot about what I value out of these movies now above all else. Storytelling that’s too focused on a flimsy future, third act fumbles, plot holes—those are pretty much par for the course in
                      <a style="text-decoration: underline; color: #000000;">
                       the MCU
                      </a>
                      . All I’m asking for at this point is a little personality and flavor.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      By contrast, the Phase 4 and 5 films that the masses were into, that seemed to signal that the MCU still has gas in the tank?
                      <em>
                       Thunderbolts
                      </em>
                      (rote),
                      <em>
                       Fantastic Four: First Steps
                      </em>
                      (bland),
                      <em>
                       Guardians of the Galaxy 3
                      </em>
                      (forced)…those did next to nothing for me. Really, I’ve been on the opposite side of all Marvel takes since
                      <em>
                       Spider-Man: No Way Home
                      </em>
                      , a lifeless movie built around one core gimmick that had nothing else to offer.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      So picture my surprise when I walked out of
                      <em>
                       Brand New Day
                      </em>
                      charged up. It took them four swings, but the Feige factory has finally made a banger that at least
                      <em>
                       gestures
                      </em>
                      at the highs of Tobey Maguire’s first two outings.
                      <em>
                       Homecoming
                      </em>
                      is cute and I have a soft spot for the
                      <a style="text-decoration: underline; color: #000000;">
                       Jake Gyllenhaal
                      </a>
                      madness of
                      <em>
                       Far From Home
                      </em>
                      but for the most part, despite reliably charming performances from
                      <a style="text-decoration: underline; color: #000000;">
                       Tom Holland
                      </a>
                      , the Spidey adventures he’s been saddled with have felt like empty calories. There’s always an Avenger or three dancing all up in the video; there’s always some broader MCU business encroaching on the narrative; there’s always Jon Watts directing action so bland that it doesn’t even measure up to the old videogames.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      Enter Destin Daniel Cretton, who’s no Raimi (but who is?) but manages to finally give Holland a Spider-movie that feels tactile, kinetic and most importantly, has some grit. The latter is a gift courtesy of the final minutes of
                      <em>
                       No Way Home
                      </em>
                      , which ingeniously rendered everything before it as a sort of Surf Dracula trilogy, finally positioning Tom as the Peter we know and love: broke, lovesick, down on his luck, mourning a parental figure, with great responsibility and zero hoes. That left a lot of time wasted, but a lot of potential on the horizon.
                      <em>
                       Brand New Day
                      </em>
                      , blessedly, delivers.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      What’s funny is that on paper, this Spidey-film should suffer from the same burdens that weighed on the last three (and that’s without even spoiling one big, increasingly obvious plot twist). This is a Spider-Man movie that makes room for
                      <a style="text-decoration: underline; color: #000000;">
                       The Punisher
                      </a>
                      , The Hulk, and other people who will have a huge impact on the future of this whole Marvel thing. Yet here, it works. The other heroes, Punisher especially, feel woven into the fabric of Peter’s New York, not like Very Special Guests jammed in. Maybe that’s because the stakes for Peter personally have never felt higher, or more specifically, realer. Up until now, Holland’s Peter has been so plucky and happy to be here that he still feels like a sidekick even in his own movies. When we pick up with him here, he’s a loner of near sociopathic levels, resolving to remain a monk as penance for Aunt May and tracking MJ and Ned’s lives through Instagram. That gaping void actually gives Holland more to do and emote about, so much so that anyone he has to share the spotlight with doesn’t subsume his.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      And when he does get back in MJ’s orbit, ironically, the everybody-has-Peter-amnesia plotline creates the best chemistry between Tom and Zendaya across all four films; it’s easily the first time MJ has felt like a real 3D person, and it’s sneakily one of Zendaya’s most effortless performances in general.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      Like every Spider-Man adventure to follow it, this movie wants what
                      <em>
                       Spider-Man 2
                      </em>
                      has, and inevitably falls short. A “New York City rides for Spidey” moment that evokes Raimi’s train scene? Sure. Steve Lacy doing his best to restore the Dashboard Confessional end-credits feeling? Mostly works. A mental identity crisis affecting Peter’s physical abilities? Not so much. The most generous bail is that it doesn’t have much room to cook thanks to a third act that gets completely taken over by the villain, in a very big bid to set up the next five years in Marvel. The action and emotional beats in the final showdown do their best to re-center things on Peter, but by the time he inevitably answers the existential question of “Are you Peter Parker? Or Spider-Man,” it feels totally unearned and flat because he hasn’t actually had the time to reach that conclusion. Also—this movie is 145 minutes long.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      That said: Maybe I’m grading on a curve after half a decade of mid or worse, but the highs outweighed the flaws for me. This is the best Holland has ever been; all the jokes about
                      <a style="text-decoration: underline; color: #000000;">
                       his summer abroad learning real filmmaking with Christopher Nolan
                      </a>
                      might have actually had some weight to them. I loved seeing the actual Spider-rogues gallery, from Scorpion to Tombstone. Even better was seeing two of TV’s best character actors out right now, the always-welcome Liza Colon-Zayas and Trammell Tillman, playing to their strengths (warm and maternal; inscrutable and oily). And although it’s become kind of a sick joke that Feige won’t just leave Spidey to his own devices, the sacrifice here at least pays off, with the first genuinely exciting phase-next tease in a long time—mostly on the strength of Sadie Sink’s performance.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      In a world where virtually every other tentpole Marvel hero feels cooked and
                      <em>
                       Doomsday
                      </em>
                      hype feels tepid, the fact that Tom, Zendaya and Jacob Batalon feel revved up and ready to run out a whole other trilogy feels impressive. For the first time, at least in this specific corner of the MCU, there feels like there’s actually more story to tell, not just end-credit-teaser straws to grasp at. Let’s see if they keep it up.
                     </p>
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                      <strong>
                       Between the Taps
                      </strong>
                     </p>
                     <p style="margin:0">
                      (
                      <em>
                       A weekly roundup of everything else I consumed since the last Tap In)
                      </em>
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                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        How I Met Your Mother
                       </em>
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      I watched this show during its heyday like every other millennial of a certain age, and like the masses, was taken in by its retro-network sitcom rhythms and
                      <em>
                       Wonder Years
                      </em>
                      simp charms until they got grating. A victim of its own success, the show overstayed its welcome through a whopping nine seasons and started jumping the shark as early as five or six, all the way up to one of the all-time tone deaf series finales to ever do it. As time went on, any glimpse of the show I caught in syndication made it feel woefully dated and embarassing, almost as if we were all under some sort of mass psychosis for even fucking with this cornball fest.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      Last week I learned that it plays with a
                      <em>
                       Friends
                      </em>
                      -level regularity across several channels; I caught a late-series episode with Jason Segel and Sherri Shepherd that was every bit as cringe as I figured it would be. But then this week, syndication seems to have found itself back to the early days when the Ted-Robin saga wasn’t so exhausting, Barney’s sociopathic hedonism was still kind of funny and Jason Segel and Alyson Hannigan weren’t mailing it in and… it kind of hit? (I think it was the episode when Ted hires a limo to finally give the gang a good New Year’s Eve and everyone ends up getting separated.) Suddenly I was watching two, three, four episodes in the background, and the series’ initial charms of a one-third life crisis angst were shining through. And in my Year of RomComs, which started off with
                      <em>
                       When Harry Met Sally
                      </em>
                      being my first film of 2026, rediscovering the show that for a brief moment before it fell off was actually one of the best contemporary romcoms out, feels kind of apt. Maybe I’ll waste my time and rewatch a couple of seasons.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        What Women Want
                       </em>
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      Speaking of the Year in RomComs, I spun that back up by checking off another Nancy Meyer flick that I somehow hadn’t seen before and I was shocked to find it…aggressively mid. It seems as if this is the consensus take, even back when it dropped. (Obviously, 2026 brain does it zero favors.) Mel Gibson feels totally miscast here, the plot meanders all over the place, Helen Hunt’s character is kind of underwritten and Marisa Tomei is woefully wasted. Nancy is still Nancy so it’s not a terrible watch but, woof.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       Steve Lacy,
                       <em>
                        Oh Yeah?
                       </em>
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      I saw my guy
                      <a style="text-decoration: underline; color: #000000;">
                       Alphonse’s review and score
                      </a>
                      before I actually listened and figured I’d agree because I had no hype for this album at all but I threw it on for the love of the game and it’s all I’ve been running since. I’m already 20 plays deep on “The Feeling.” There’s an argument to be made that Steve’s lyrics feel calculated and he’s chasing more “Bad Habits,” but I just hear a writer getting better at his craft and a bisexual demon terrorizing both sexes with the same chaotic energy we’d expect from Future (as Al pointed out as well, “go and suck your friend’s dick” is so Pluto-coded) or Weeknd. Where every other R&amp;B contemporary feels like they’re pantomiming toxicity because that’s what sells, Steve feels like a genuine mess sorting it all out through some of the best earworms in the game.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       Syd,
                       <em>
                        beard
                       </em>
                      </strong>
                     </p>
                     <p style="margin:0">
                      Not quite as potent as Steve’s is for me, but multiple members of The Internet dropping bangers to heat the summer up? We are oh so back.
                     </p>
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