There’s been no shortage of Spider-Man over the past three decades with four separate film series, and more than one of them have also included multiple versions of the same character from different universes. Unlike the onscreen reunion of Tobey Maguire, Andrew Garfield, and Tom Holland or the many iterations of the character seen in the Spider-Verse animated films, the first live-action Spider-Man to grace television screens in years is focused on exactly one parallel version of the famous arachnid-enhanced hero, who lives in a very different world than the young web-slinging Peter Parker audiences have come to know.
Ben Reilly (Nicolas Cage) is a disgruntled private investigator in 1930s New York whose case load is hardly overflowing, and his struggling operation is supported only by his all-too-devoted secretary Janet (Karen Rodriguez) and his journalist friend Robbie Robertson (Lamorne Morris). After he’s approached by Cat Hardy (Li Jun Li) with a case, Reilly becomes entangled in the business dealings of mobster Silvermane (Brendan Gleeson) and considers putting on the mask that he has long since abandoned following a tragic loss.
This series feels very much like an event in itself rather than just another installment of the ever-expanding – and incredibly popular – Marvel Cinematic Universe. Its marketing stresses that it’s available in two formats, authentic black & white and true-hue full color, both of which look and feel very stylized. It’s not trying to mimic any other modern-day superhero movie, instead skewing closer to classic detective dramas and film noir where the good guys are fighting nefarious enemies and might have to go to drastic lengths to do so, potentially losing everything in the process. But, unlike comparable fare like HBO’s recent remake of Perry Mason, this one does feature superpowered individuals in a dated setting reminiscent of Watchmen or the forthcoming prequel to The Boys, Vought Rising.
It’s a real treat to see Cage, who has established a reputation as an action star who leans into the absurdity of his characters long after winning an Oscar for Leaving Las Vegas back in 1995, on television since, despite working regularly, he so rarely appears on the small screen. This role isn’t nearly as showy as many of his other recent parts but it still fits like a glove, and the fact that he moonlights as the Spider also feels just right. It’s cool to watch him spring into action, moving quickly and kicking ass but not trying to show off too much or draw unneeded attention. He may have a familiar Spidey-sense, shoot webs out of his wrists, and wear a mask that looks like a classic, colorless version of Spider-Man, but it does feel like the Spider is a distinct alter ego, and he’s spent considerably more time invested in his identity as the very human Ben Reilly.
While Spider-Man has historically leaned a bit lighter than some of the other Marvel superheroes, it’s a bit jarring to note that this show will compete at the Emmy Awards as a comedy. There are certainly funny moments, and the antics Cage has with Rodriguez and Morris do feature a good deal of comedic banter. But everything to do with Hardy and Silvermane feels deathly serious, a brooding mystery that definitely should be considered drama. Fortunately, the experience of watching an episode of this show, in whichever visual format viewers choose, is immersive and rewarding, taking time to embed itself in its period setting and focus on an authentic feel over swift-moving plot developments. It’s not always riveting or in any rush to get to its next big scene, but its style and the commitment both of the actors and artisans makes it a unique and intriguing specimen well worth exploring.
Season grade: 7/10
