What’s Going On In The Amazing Spider-Man? Is Spider-Man ever coming out of reruns? May – August 2019

Back around my undergraduate days the university wanted to move the student group offices out of the main student union. The space could make money rented out for events instead of given to student groups. The student groups didn’t want to leave. The university planned a major renovation and expansion of the campus center. It would add a bunch of decent food places, for example. And get the building away from its original late-60s “you know the architect was an award-winning prison designer” layout. But it would need most of the student groups to leave for a while. They set up nice enough temporary quarters in the Ledge, the former and still usable student union building. And, after about three years of renovations, there had been nearly a full turnover in undergraduates. Nobody but a few die-hards with old issues of the student newspapers remembered the promise that student groups would ever move back.

So the first of the “classic” repeats of Roy Thomas and Alex Saviuk’s Amazing Spider Man stories, facing Mysterio, came to an end in mid-July as expected. And then they went right to the story which followed the Mysterio story in 2015. It’s a team-up with the Black Widow to fight the Hobgoblin. That’s a storyline which ran from mid-March 2015 through mid-August. If they repeat the whole thing, that’ll take us through October 2019. The following story, if they don’t change things up, would be an encounter with the Sub-Mariner.

I haven’t heard any announcements of a new team to create the comic strip. Or rumors of an announcement being near. If I hear anything about The Amazing Spider-Man rejoining the world of living comic strips I’ll post something at this link. And I’ll keep plot recaps going, at least until they get into rerunning stories I’ve already reviewed.

The Amazing Spider-Man.

19 May – 10 August 2019.

In a story ripped from 2014-15, Mary Jane had just fallen off the Empire State Building. Filming accident during the making of Marvella 2: The Secret of Curly’s Gold. Spider-Man suspects Mysterio, the super … special-effects and hypnosis guy. Correctly, but how? Also the film crew is starting to suspect Mary Jane and Spider-Man have a thing, and this might hurt Peter Parker if he ever finds out.

Roy Thomas, Larry Leiber, and Alex Saviuk’s Amazing Spider-Man for the 29th of May, 2019. I had thought the World’s Fair robot just stood there talking with people and smoking cigarettes but I’m not asserting that I know about all the World’s Fair robots out there, especially in a variant of the Marvel Universe.

Mysterio, meanwhile, is sure: Spider-Man has got to be Mary Jane’s husband. He’s going to use a publicity photo shoot, using an old World’s Fair robot, to mess things up. The robot chases down Mary Jane. Peter Parker, in disguise as Peter Parker, shoves her out of the way, taking the fall at the cost of a cracked rib. Mysterio cackles at how he almost killed both Mary Jane and Spider-Man.

Producer Abe Smiley’s ready to cancel Marvella 2: The Secret Of The Ooze. But Mary Jane talks him out of it. And Peter’s discharged already: it was a tiny fracture. He even has a copy of the X-ray. Director “Dash” Dashell, curious about the X-rays, stumbles into Peter. Peter screams and spills his plot point right over everybody.

Roy Thomas, Larry Leiber, and Alex Saviuk’s Amazing Spider-Man for the 7th of June, 2019. I like people coming to the conclusion Mary Jane has something going with Spider-Man. It’s logical for onlookers to suppose. And it might help Peter Parker keep his identity secret, a thing he needs a lot of help with.

Marvella 2: Golden Receiver resumes. Spider-Man makes himself very visible watching over the next day of filming, at Washington Square Park. Mysterio does too. Then throws some misting gas grenades to be less visible. He’s figuring a mid-air, smoky fight with a wounded Spider-Man his best shot at killing Spidey. It’s not a bad thought. With a solid hit to the chest Spider-Man goes falling. Mysterio flies after him — well, not flies. Mysterio doesn’t have superpowers. He has a transparent hoverboard. Which Spider-Man snatches.

Roy Thomas, Larry Leiber, and Alex Saviuk’s Amazing Spider-Man for the 20th of June, 2019. I’d like to say it’s a coloring error that the nigh-invisible Sky-Ski is a bright orange, although that there’s not lines for Mysterio’s right boot suggests otherwise. In the previous couple days’ strips the Sky-Ski was invisible, or at least sky blue, which would probably be invisible enough for filming an ordinary special effects sequence. (I suppose a modern effects sequence would want the Sky-Ski to be a bright, easy-to-detect color not otherwise used, so it could be digitally erased. You can’t say that’s going on here. That’s not Mysterio’s thing and anyway his gloves are the same color.)

This offends Mysterio, a reaction I love. But Spidey points out, he can pretend to get hurt. With the hoverboard — er, Sky-Ski — Spidey can stay in the air long enough to continue fighting. Mysterio has an emergency reserve jet pack because, you know, supervillains. Anyway, they throw stuff at each other, they plummet, Spidey grabs on to Mysterio’s flying boomerang discus. He knocks Mysterio down. They fall into the fountain.

Roy Thomas, Larry Leiber, and Alex Saviuk’s Amazing Spider-Man for the 5th of July, 2019. I understand the superhero convention of the mask-under-the-mask thing. But I look at this and wonder if Mysterio was getting any oxygen at all through those masks. His goldfish bowl wasn’t opaque because of special effects stuff. It was opaque because it fogged up.

Spidey reveals that Mysterio is in fact … “Dash” Dashell, director of Marvella 2: Invasion of the Tinysauruses. Or in fact … not. He’s really Quentin Beck, Mysterio. Mysterio kidnapped the real Dashell and took his place. The plan: draw out Spider-Man by staging accidents with Mary Jane Parker. This would let him kill Spider-Man, vanquishing his longstanding foe. Also let him kill Mary Jane, because, eh, what the heck.

Mysterio tries to at least reveal that Peter Parker is Spider-Man, and gets laughed out of town. It helps that Peter Skypes her with a “hey, just heard there’s a villain unraveling going on” call in the middle of this. Mysterio’s not fooled by a pre-recorded message. He slugs Spider-Man in the chest, who doesn’t even flinch, because Spidey doesn’t have a cracked rib. Mysterio leaves, abashed.

Roy Thomas, Larry Leiber, and Alex Saviuk’s Amazing Spider-Man for the 11th of July, 2019. Question for the class: when did Peter Parker decide on his plan to fake having a cracked rib? He must have figured he had to fake being injured after the robot fell on him, since it would be weird if he didn’t need a hospital visit. But did he realize Mysterio was trying to injure Peter Parker, and needed to fake an injury? When? And on what basis?

How did Spider-Man pull this off? The X-rays Peter brought back from the hospital were old ones, from when this story originally ran four years ago. It’s some clever thinking by Peter, whose comic strip persona had needed the chance to show he can think. I’m not convinced that he had enough information in-world to form and execute this plan, though. But I’m also not sure how he leapt to the conclusion it was Mysterio behind all this either. Sometimes I guess you get lucky.

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The Black Widow/Hobgoblin story got started, this time around, the 20th of July. Mary Jane admitted wearing the Marvella costume has kinda aroused something in her and she’d like to try web-slinging with him. And they’re having fun swooping over the town when the Hobgoblin blows through and tries to knock them down. Spider-Man leaves Mary Jane somewhere safe so they can go fighting.

Roy Thomas, Larry Leiber, and Alex Saviuk’s Amazing Spider-Man for the 2nd of August, 2019. I admire Hobgoblin’s willingness to say “I’ve no intention of rescuing you”. That’s a real power move of a line of dialogue. You know he could totally have said “I’ven’t any intention” except he’s holding that in reserve in case he has to escalate his dismissiveness.

It doesn’t go well. Hobgoblin knocks Spidey unconscious and returns to grab Mary Jane. She recognizes Hobgoblin as her old boyfriend, and Peter Parker’s friend Harry Osborn. Hobgoblin blames Spider-Man for the death of his father HarryNorman “Green Goblin” Osborn. And he hates Mary Jane now for … I don’t know. Something. Good chance they explain it in whatever this month’s Spider-Man movie is. Fortunately, the Black Widow is around and able to save Mary Jane.

Between the Black Widow and the recovered Spider-Man they’re able to chase Hobgoblin off. This gives Spidey and Black Widow a chance to exposition to each other. Black Widow was seeking a former Soviet Spy who’d killed “friends” of hers years ago, and ran across this by accident. Mary Jane, meanwhile, contracts instant jealousy of Spider-Man talking to Black Widow like this. And that’s the standings as of this weekend.

Next Week!

Doc Wonmug takes Alley Oop and Oola to meet Plato and then something goes wrong with the time machine. And it’s not the Time Raccoons, not yet. Jonathan Lemon and Joey Alison Sayers’s Alley Oop is up in six days, unless I get busy.

Robert Benchley: Movie Boners

I tend to think of picking out continuity errors in movies as a modern practice. It feels like the habit of nerdly-minded individuals who love knowing how movies are made, and love catching movie-makers in the process of getting something wrong. But in this classic piece, from My Ten Years In A Quandary And How They Grew, Robert Benchley teaches the uniformly unsettling rule of history: the ancients were not so different from us. Besides being a magnificent piece, this essay would lead to another wonderful follow-up.

Movie Boners

One of the most popular pastimes among movie fans is picking out mistakes in the details of a picture. It is a good game, because it takes your mind off the picture.

For example (Fr. par example) in the picture called One Night Alone — for a Change, the Prince enters the door of the poolroom in the full regalia of an officer in the Hussars. As we pick him up coming in the door, in the next shot, he has on chaps and a sombrero. Somewhere on the threshold he must have changed. This is just sheer carelessness on the part of the director.

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In We Need a New Title for This, we have seen Jim, when he came to the farm, fall in love with Elsie, although what Elsie does not know is that Jim is really a character from another picture. The old Squire, however, knows all about it and is holding it over Jim, threatening to expose him and have him sent back to the other picture, which is an independent, costing only a hundred thousand dollars.

Now, when Jim tells Elsie that he loves her (and, before this, we have already been told that Elsie has been in New York, working as secretary to a chorus girl who was just about to get the star’s part on the opening night) he says that he is a full-blooded Indian, because he knows that Elsie likes Indians. So far, so good.

But in a later sequence, when they strike oil in Elsie’s father (in a previous shot we have seen Elsie’s father and have learned that he has given an option on himself to a big oil company which is competing with the old Squire, but what the old Squire does not know is that his house is afire) and when Elsie comes to Jim to tell him that she can’t marry him, the clock in the sitting room says ten-thirty. When she leaves it says ten-twenty. That would make her interview minus ten minutes long.

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In Throw Me Away! the street car conductor is seen haggling with the Morelli gang over the disposition of the body of Artie (“Muskrat”) Weeler. In the next shot we see Artie haggling with the street-car conductor over the disposition of the bodies of the Morelli gang. This is sloppy cutting.

In Dr. Tanner Can’t Eat there is a scene laid in Budapest. There is no such place as Budapest.

What the general public does not know is that these mistakes in detail come from the practice of “block-booking” in the moving picture industry. In “block-booking” a girl, known as the “script-girl,” holds the book of the picture and is supposed to check up, at the beginning of each “take”` (or “baby-broad”), to see that the actors are the same ones as those in the previous “take.”

The confusion comes when the “script-girl” goes out to lunch and goes back to the wrong “set.” Thus, we might have one scene in The Little Minister where everybody was dressed in the costumes of The Scarlet Empress, only The Little Minister and The Scarlet Empress were made on different “lots” and at different times.

It might happen, even at that.