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From Wikipedia, the free encyclopedia

Sir Ronald Graeme Millar (12 November 1919 – 16 April 1998) was an English actor, scriptwriter, and dramatist.[1]

After Charterhouse and studying at King's College, Cambridge, for a year, Millar joined the Royal Navy in 1940, during the Second World War. He established himself as a playwright after the war and, between 1948 and 1954, lived in Hollywood, where he wrote scripts for MGM. On his return to Britain, he successfully adapted several C. P. Snow novels – and, in 1967, William Clark's novel Number 10 – for the stage.[2] He also wrote the book and lyrics for the musical Robert and Elizabeth. He acted as speechwriter for three British prime ministers, including Margaret Thatcher, for whom he wrote the famous line "The lady's not for turning."[3]

Millar was the son of a professional actress, Dorothy Dacre-Hill. Prior to becoming a full-time dramatist and then a speechwriter, Millar acted in a number of West End productions during and after World War II, in the company of luminaries as Ivor Novello, Alastair Sim and John Gielgud.[4] He also appeared in the 1943 war film We Dive at Dawn directed by Anthony Asquith.[5] One of his most well-received productions was Abelard and Heloise featuring Keith Michell and Diana Rigg.[6]

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  • Why Spider-Man is No Longer Relevant. Death of a Dream (1962-2017) (55th Anniversary) (Ep#1)


This is some really really great stuff, you know. Hi there. My name is Yan Eden ( and this is a new program that I'm launching on YouTube right now and it's called "Observation of Creative Souls" and today our topic of discussion, yes, yes, you guessed it right folks, is going to be Spider-Man! *MAXIMUM SPIDER* But I'm not going to talk about Homecoming KEVIN FEIGE: "TOASTY!" / new film by Marvel Studios & Sony. I'm going to talk about something else, something that is about the essence of Spider-Man. So, here's what we're going to discuss today. "Why Spider-Man Is No Longer Relevant." Oh, the Green Goblin (toy) fell! And of course this is all about "Death of a Dream" and by that I mean that Spider-Man is not a relevant hero anymore. When I read Spider-Man ever since the age of 5, he was an exciting superhero with lots of problems, psychological ambiguity He had to find enough money to sustain himself, Aunt May and Uncle Ben wasn't around. He was doing a freelance photography thing at Daily Bugle. And there was always a constant struggle with his school life, his professional life. * Spidey: "I let everyone down!" * And then he had problems with the love interests with Gwen Stacy and Mary Jane Watson. And it was so great because we're talkin about the character that first popped up in 1962. Think about it... that was 1962. Spidey: "Web Swing!" And then he was Evolving. Spider-Man was a different character after Steve Ditko got off because he had conflicts with Stan Lee. "EXCELSIOR!". And then John Romita Senior came by. And he redefined the character and we started looking at different aspects of the visuality of the character. You know, what I mean? And then other writers and artists came, and they started evolving Spider-Man into the new age and new time period. So, by the time we got to the late 90's, and the beginning of 2000's. We're already done with the Clone Saga, so we don't have to deal with that @#!% anymore. Cap. A: "Language!" And then we're dealing with J. Michael Straczynski and John Romita Jr. This team has single-handedly redefined Spider-Man for the 21st century and they did a very, very marvelous, no pun intended, job at that. Together they produced some of the best Spider-Man stories of all time. Excellent understanding of Peter Parker and his inner world as well. This is an adult version of Peter, imagine him being in his 30's and he is separated with Mary Jane and they cannot reconcile. Peter is looking for a new job so he's not a photographer at Daily Bugle anymore. So, we have a status quo change. And then he's going to become a chemistry teacher at his former high school and then he's facing new villains, new threats, and thinking about his origin, how he came to be Spider-Man. Was it an accident that he became Spider-Man? Or was it just a coincidence, that something like a spider bite, at a certain place, at a certain time in his life, had to happen, it's really, really philosophical and that's what I like about J. Michael Straczynski's run. He really put a lot of soul and thought into developing the characters of Peter Parker, Aunt May and Mary Jane, so they are not two-dimensional, but actually a really really well-developed characters with a lot of psychological issues and personal problems. And then he does a marvelous job at combining it all together, and you see, for the first time in many many years, the evolution of Peter Parker character. He's dealing with new things, becoming a mentor to a bunch of kids at school. He learns to have a new responsibility in his life. With great power, comes great responsibility and that saying is also applied in the form of what J. Michael Straczynski and John Romita Jr. used to do in their comic book and it's a really, really weird thing that after a couple of changes, editorial changes, you have Joe Quesada coming in (Venom: "Villain!") and forcing J. Michael Straczynski to do some really, really obscure stuff with the brand. I mean, everything ended with "Brand New Day" Everything ended with "One More Day". And to me, the pivotal point of Spider-Man becoming an irrelevant character was when he made a a deal with MEPHISTO! HA-HA-HA That's when all hell broke loose and Spider-Man was never the same. Because we're talkin' about a guy who was hiding his secret identity for quite a long time. And then you have a "Civil War" thing that happened in "Civil War" limited series (7 issues, by Mark Millar and Steve McNiven) and was also really touched upon in the Amazing Spider-Man tie-in (by JMS and Ron Garney). His relationship with Iron Man (Tony Stark) , was it the right decision to unmask himself in front of the whole world? And then, suddenly, this is non-existent anymore! He (Peter) made a deal with the devil (Mephisto). And I couldn't believe that! I was reading this @#!% CAP. A: "LANGUAGE!" And I couldn't believe that Spider-Man would make a deal with the devil! This is myself (5-years-old). And I was just amazed by the animated series, "Spider-Man: The Animated Series" (1994-1998). Because that's how I discovered the character of Spider-Man. And never, never in my life, I thought, especially at that age, that Spider-Man is going to make a deal with the devil. They're going to erase half of his history, * Peter Parker screams in agony! *, change a lot of things , destroy his marriage (with Mary Jane Watson). And Aunt May, who was supposed to die during the "Back in Black" arc (by JMS & Ron Garney). SPIDER-SENSE IS TINGLING!!! Aunt May is now alive and well?! So you didn't have any consequences. Marvel... if Marvel had the balls, they just could have let her die, because they already did it once but then they tricked everyone into believing that, "Oh, well, actually it wasn't the real Aunt May." "It was just an actress hired by a certain villain to do this and that And then you have the NORMAN OSBORN THING! *CLASSIC NEIL ROSS LAUGH!!!* But what I'm sayin' is that if they killed Aunt May, if she died during the whole post-Civil War thing , then we could've avoided the repetition. We could've avoided erasing half of Spidey's history. I mean don't get me wrong, I like Steve McNiven's work, I like this I really like this one. I like the stuff that they they did with Marcos Martin with Mark Waid during the "Brand New Day" era. I like some of the stuff that Dan Slott did with his run on The Amazing Spider-Man "No One Dies (Part II)". That was really, really great because Marcos Martin is the next Steve Ditko of the 21st century. So, he's really, really creative and does a lot of crazy things with his art style. It's really fantastic, but if the story is lacking, then the art style is not important. You have the first 30 with something issues of The Amazing Spider-Man done by Steve Ditko. And Steve Ditko made sure to show us a Peter Parker who was really, really down on his luck. He was antisocial and on the verge of committing certain things that he would've later regretted, if he didn't have the Spider-Man powers. Whereas, in a new film "SM: Homecoming", despite the fact that he is in high school, he doesn't react to anything properly. Everything is like, you know, "Oh, I have to impress Mr. Stark" "I have to impress Mr. Stark, I have to impress Mr. Stark!" @#$! you, Iron Man! Nobody cares about @#$!*@! Iron Man! CAPTAIN AMERICA: "LANGUAGE!!!" Why would you do that kind of thing? Peter has to be be independent. I was never a fan of Peter being in The Avengers. I always thought of him as a lone wolf type of a guy. The whole 'Iron Spider' thing was appropriate during the Civil War, that was appropriate. But then, you know, teaming up with the Avengers, teaming up with the Fantastic Four, becoming a member of the team, like that kind of @#!!$%*! CAPTAIN AMERICA: "LANGUAGE!!!" Give me some break! It's not great storytelling. We're talking about erasing the character's history and then it got really worse, progressively worse, because you got SONY stretching their tentacles with the film franchise. And we all loved Spider-Man (2002), we all loved Spider-Man 2 (2004), but we never appreciated Spider-Man 3 (2007), because it was just another marketing ploy to sell more toys, and to gain recognition, because Venom is in the film, Sandman is in the film, everyone is in the @$%!*$# film!!! EXPLOSION!!! So we have to promote this @#$! CAPTAIN AMERICA: LANGUAGE!!! And nothing made sense! I mean, there were certain great character moments in there, some emotional stuff, nice adaptation of J. M. DeMatteis run (with Sal Buscema) about the relationship between Harry Osborn and Peter Parker, and how Harry sacrificed his life to save Peter, but in the comic books it worked, in the film (SM3) it didn't work, so... $@#! it! CAPTAIN AMERICA: LANGUAGE!!! And then we're left wit the fact that, okay, so, the comic books are getting progressively worse! Because now, in Marvel, there are a few Spider-Men running around. There is Spider-Man (OG), then there's Miles Morales (Kid-Arachnid or whatever), then there's a Spider-Woman, then there's a Spider-Gwen, there are so many Spider-Men & Spider-Women in that universe, it makes me go like CRAZY!!! It shouldn't be happening! Okay, so, there is no individual complexity to this character (Pete Parker) anymore. Because they got a lot of storylines, and this all @$#!!%$#@ because CAPTAIN AMERICA: LANGUAGE!!! because they erased this thing with MEPHISTO. Like... argh, who cares... You know what I mean? Okay, so if we go back to the films, here is Andrew Garfield here's the reveal of the Amazing Spider-Man (2012) franchise in Entertainment Weekly magazine. And we all thought, oh well, maybe it's gonna be a good reboot, you know what I mean? Andrew Garfield: "Peter Parker has inspired me to feel stronger, he made me braver, he reassured me that by doing the right thing, it's worth the struggle, it's worth the pain". There is a problem... they hired a director Marc Webb who did a great film (500) Days of Summer Spidey: "That's why J.J. pays me the big bucks!!!" He (Marc Webb) wasn't capable of handling the Amazing Spider-Man franchise. He wasn't handling it well. And this just wreaked of poor storytelling as well, because in TASM franchise you have bad scriptwriters, bad producers: Avi Arad, Matt Tolmach and Amy Pascal NEGATIVE ZONE PRODUCERS: RAAAAAAAWWWWWWR!!!!! Because they started up building the Sinister Six, but the story wasn't good! Concentrate on making a good movie first, then you think about building off a universe and stuff like that. That's what Spider-Man: The Animated Series in the 90's did so well. By the way, this is a VHS tape (bootleg) from Midtown Comics (NYC) back in late 90's, early 2000's. It was recorded properly off a DVR. "The Wedding", "The Return of Hydro-Man (p1-p2)". Two good episodes, one great two-parter (Hydro-Man). With the animated series it was great, because they did the Spider-Man thing from alternate universe in the finale of the series. But it worked because it was creative, it wasn't overused by a lot of hack writers and a lot of other companies. And that series also worked because it showed Spider-Man teaming up with Iron Man, Captain America, teaming up with the Fantastic Four, with the X-Men. And it all worked, because they were building up to that. It wasn't like, "Oh, let's do this for the sake of getting everyone together", no it worked really, really well with the storyline (of the show), and Spider-Man, I believe, in the X-Men episode (S2E4: The Mutant Agenda) was experiencing a lot of pain Peter Parker: "Arrgh! Hurts more than before!" Six-Armed Spider-Man: "Noooo!!!" Transformation into a Man-Spider! Man-Spider: "ROOOOOAAAAR!!" The X-Men were trying to help him (Spidey), it just happened to be that the Hobgoblin came into the scene and they had to stop him and his plan. * Mark Hamill's iconic laugh!!! * Which was a great storytelling. I mean, John Semper Jr. ( did a great job at adapting all the classic Spider-Man storylines, mixing them up with the 90's (* Carnage Laugh!!! *) and the modern time. And utilizing some of the stuff of Steve Ditko, Roger Stern (* Hobgoblin: Yeeeaah! *), there's like David Michelinie, the Venom thing (* Venom: Venom Rush!!! *), Todd McFarlane And it was just great! The art style and the animated series itself were really, really great. You could probably say the same thing about the Spectacular Spider-Man (* Pete Parker: Up an over! *) because Spectacular-Spider Man was the only good thing that came out post-One More Day, post-Brand New Day. That was the only good thing that came out of this @#$%!*#@ (* Spidey: Whoops! *) CAPTAIN AMERICA: "LANGUAGE!!!" + Spidey: "All these superheroes!" You know, the series Spidey: "Get ready!" // tried to do an amalgamation of Brian Bendis' Ultimate Spider-Man with Steve Ditko's and Stan Lee's early run on the Amazing Spider-Man in the comics, added with some of the stuff from the 90's, from the 70's, from the 80's, and it worked beautifully, but then they closed the show off! GREEN GOBLIN (STEVEN BLOOM): LAUGHS!!! And Marvel & Disney started trading rights. And then we got Ultimate Spider-Man (cartoon) that went down for so goddamn long. And the show is not even good. Because in every single season, "Oh, here's a new Spider-Man, here's another Spider-Man, here's a time traveling thing" SPIDEY: "Goddamn it!!!" It's been done in the 90's by John Semper Jr. in a really well-crafted way, it didn't take a lot of screen time. It just took 2 episodes ("I Really, Really Hate Clones + Farewell, Spider-Man") and it was beautiful. Stop it with the Spider-Mania (100s of Spideys shouting: "HEY!"). Stop it! The character loses his individuality, cause every single one of them is like: "Oh, I have the same power as you, I have the same costume as you, albeit in different colours." And with the new Marvel's Spider-Man cartoon for Disney XD, I gather, what's with the animation? Why is it so cheap-looking? J. Jonah Jameson (*LAUGH*): What, Disney, one of the biggest conglomerates in the entire world, Disney doesn't have enough resources to make sure it's a top notch, top quality, animation?!!! JAMESON: "YOU SERIOUS?!!" Ultimate Spider-Man (cartoon) didn't look good. Peter Parker (Spectacular Version): "Loser!!!" Spidey (Spectacular Version): "Look out! Here comes the Spider-Man!" Pete Parker (Spectacular Version): "With great power, comes a great beatdown!" It wasn't a professional animation. I'm not sayin that the Animated Series (1990's) animation was really, really stellar all the time. Of course (due to budget constraints), they had to reuse a lot of panels, shots here and there. But it had a great storytelling (by John Semper and co.) And most importantly, and I cannot stress this enough, most importantly, the series had a heart and a soul! John Semper was a huge fan of the Spider-Man lore and mythos, so he took good care of that, he took care of all of that. That's why we had a great representation of the Green Goblin, Doctor Octopus and all the other characters within the series. And it's a good thing that the series stands the test of time because it's a great adaptation of the Spider-Man mythos and Pete Parker is not a high schooler in this one. He's a student at the university. So, you can relate to that, whereas in "SM: Homecoming" he (Peter) supposed to be this working class kid and yet, everything is available to him, the high-tech costume, he's pals with Tony Stark (Iron Manlet). People (online and offline) are saying, well, Tom Holland is the best Spider-Man ever, but he's not! He doesn't have a charisma, this kid is just like a wooden table, zero charisma! You know, say what you will about Tobey Maguire and how he hasn't been faithful to the portrayal of Spider-Man in the comics, but the guy had something in his eyes, he had a presence, and you could relate to him, especially in Spider-Man 2 (2004). That way of life, with him trying to have a part-time job at a pizza parlor and it doesn't work out. This thing and that thing isn't paying out. And it's great to see the life just smashing Spider-Man/Peter Parker into pieces and yet, Peter Parker has to recover from the pressure of human life in order to regain his posture and just try to be a hero despite the fact, that everything is against him. I'm not trying to explain Spider-Man 2 to you again. Because that's been done to death by many, many other people all over the world. But I'm just sayin, that, okay, so in "Homecoming" they have the Vulture, an adaptation of the Steve Ditko issues where Spider-Man first met the Vulture. And they stole a lot of scenes from Civil War comic book, they stole a lot of scenes and moments from the Straczynski run especially at the end of the film, there is this reveal happening and they're not doing anything with that, they didn't deserve to get that reveal. The guy (Holland's Parker) didn't fight his Rogues Gallery yet, he only fought one guy, and he won, barely! Then you have the comic books, his stories, you have a character that existed from 1962, and by the time Straczynski got to that point with the reveal, it was done appropriately, look at that! You see what I mean? They had to build up to that! Sure, they revealed the fact that she (Aunt May) knew that he was Spider-Man in ASM #400, but that wasn't the real Aunt May, This is the real Aunt May and Straczynski did a beautiful job at going with that storyline and progressing, and it changes the dynamic of of the character, but when you are doing it in the film (Homecoming), when they guy just fought one villain, doesn't have any personal history with his colleagues and classmates, and it all feels so forced and stale, like Liz Allan, the MJ thing, and the Ned Leeds character who is just Ganke from the Ultimate Spider-Man comic books. It just feels like it doesn't play any major, significant role in a bigger scale of things, bigger scope of things (oh, the Marvel Cinematic Universe!!!) Who cares?!! This is why Ilike the 1st Sam Raimi flick, because it was faithful to the comic books, it didn't mess up lot of things here and there, the villain was actually interesting (Willem Dafoe), Aunt May (Rosemary Harris) was there, Uncle Ben (Cliff Robertson) was there. "With great powers, comes great responsibility!" But in this film (Homecoming)... NOT A SINGLE $#@%!# MENTION OF UNCLE BEN!!! CAPTAIN AMERICA: LANGUAGE!!! IT'S LIKE, "OH, UNCLE BEN PROBABLY WENT TO HAWAII! OH, AND BY THE WAY, HE LEFT A FORTUNE" TO PETER PARKER & AUNT MAY, SO THE WORKING CLASS PEOPLE CAN GO WHEREVER THEY WANT! And don't think about anything. There is no stress. There is no, it seems, problem with financial resources. No: "Oh, what are we going to do without Uncle Ben?!!" It feels, like everything is being taken care of! Spidey-Businessman: "Heh, just not your day, pal!" Spider-Man & Peter Parker characters are both unlikable in that film (Homecoming). Because he's just complaining, he's whining, whining, whining, and everything that happens in that film is his fault! And it shouldn't be like that! A hero should SAVE people! He should STOP & PREVENT explosions from happening. And instead, he's the cause of the problem, this is why the "Ferry Scene" is so awful, because he was responsible for webbing that gun (the Chitauri weapon), and the gun exploded and everyone was in peril because of Spider-Man! 60's SPIDEY: "Right behind you, said the Spider to the Fly!!!" If we're going by the logic of J. Jonah Jameson (*What's so good about this?"*) (Pete: "B-but, Mr. Jameson!" + "One for J.J"), then Spider-Man is probably a menace in this film, and so Jameson is right. Whereas, in the comic books it wasn't the case! It was like: Spider-Man couldn't save the day, because he was beaten (outmatched) by his enemies, if you look at the first couple of issues of the Amazing Spider-Man, he's always getting his ass handed to him by his villains (Ock, Sandman, Electro, Shocker), but then he recovers and gets his heroic moment (Spidey: "Showtime!") and defeats every one of them. Which is like one of the greatest aspects of the character in the comic books is that ASM Annual #1 (1964 by Ditko and Lee) - Spider-Man vs. The Sinister Six That was just amazing to see how he struggles with every single villain that he has to encounter, and he prevails despite all the obstacles and the fact that his villains are more powerful than he could possibly be // Spidey: "Havin fun? The hits keep on comin! You like that? Here comes Spidey! Give me a hand! Eat this!" This is what made Spider-Man so great stories like that, stories like this one, written by Paul Jenkins and drawn by Sean Phillips. It's a great Chameleon storyline. And they haven't done anything good with the Chameleon after this story. Peter: "Gwen!" This is what is missing with Spider-Man, as a character, personal stakes. Peter: "Noooo!" There are no personal stakes in the film universe, they screwed up everything really, really bad with the Amazing Spider-Man franchise, there is no personal stakes in the new animated series, because everything is "Oh, this pigeon is stopping me from having my superhero moment! Shoo, shoo!" It's such a cheap way of initializing humor and people are thinking, "Oh, this is funny!" no, it's not funny! It feels forced, it feels, like (exhausted) I DON'T KNOW!!! It felt to me like this total Spider-Man: Homecoming phenomenon, is like a huge, corporate product. Everything has to be really, really safe, we have to calculate everything, we have to have about 7/8 scriptwriters on this #$@! film! CAPTAIN AMERICA: "LANGUAGE!" Let's hope to god, that it all works let's pray to god, that it all works, what I miss, I miss, the real Spider-Man! A Spider-Man with no forced interaction with Tony Stark (aka Iron Manlet), nothing that really utilizes the use of other universes and other Spider-Men. I just don't understand what's the appeal of ruining the character of Spider-Man so much?!! I don't recognize Spider-Man anymore. There are no stakes, he's not growing older, now he's a businessman?!! *Cricket Sound* Sure, with the Marvel Legacy relaunch, they're going to make him again into the working class hero (synergy, yo! - Homecoming), but let's face it, the whole SUPERIOR Spider-Man thing where Doc Ock killed him and switched bodies at the last second. That just feels like a fan fiction. And it's not surprising, because Dan Slott is a huge fan of Dr. Who, the modern version, and so it's not surprising that the new Dr. Who feels like a a lot of it feels like a fan fiction. And then, you have the same guy (Slott), who is enjoying the modern fan fiction, writing Spider-Man fan fiction (promoted as something official), but he's not creating a storyline that's going to define the character in years and years to come. That's why, I kind of, understand, certain people that dropped Marvel (as a company) a long time ago. They call 'em neckbeards or something, but I don't think that they're neckbeards. I just think that they are people who are really tired of corporate moves and gimmicks: "Oh, he's getting a new costume! This character is going to die!" Please, Bleeding Cool, don't spoil this thing for us! What's the point? You are not creating a good storyline! There's been a Clone Saga (90's), where Ben Reilly (Spidey's clone) died in a very tragic and heroic way. And then they brought him back as a villain (The Jackal) in that "Clone Conspiracy" thing. Why bother reading Spider-Man if they're not creating good storylines? Why bother?! This! Even this image, that they have at the back of this book, the storyline, where this image was taken from, is a powerful storyline. Because they finally have a confrontation, just like Aunt May had a confrontation with Peter (JMS run), Mary Jane has a confrontation with Pete Parker about his secret identity. And it's just... I don't know how to explain it to you. It just feels like every single Spider-Man thing that they're doing in a modern age right now, especially post One More Day/Brand New Day, just feels awful. So, the Mephisto thing is awful, Ultimate Spider-Man (animated series is awful) and Marvel's Spider-Man new animated series is probably going to suck. And then you have the film, the Homecoming franchise. I am supposed to be invested into this kid? Who's going to go for this Harry Potter type of a franchise feel?! where he's going to grow older and evolve. But who cares about him? I don't care about him! I couldn't give a damn about him! I don't care if Robert Downey Jr. vouched for this kid, he's not Spider-Man, he's not Peter Parker, he's annoying as hell, hyperactive, and all the quips that he makes - it's not funny! The quips aren't that funny. It just wreaks of corporate involvement, it's like: "Oh, we have to prepare Spider-Man for something really really, big, you know? Oh, what that big thing? Oh, it's the INFINITY WAR!!!" THANOS: "DESTINY AWAITS!!!" WHO CARES? I don't care about seeing Spider-Man with a bunch of the Avengers. I just want a GOOD Spider-Man film, is that SO HARD to MAKE? I just want my Spider-Man back! Look, if it's set in high school then make it a proper high school, don't make it into high school for privileged kids for bright, scientific minds! with boring ass teachers and boring ass classmates, don't turn Flash Thompson into a character that he's not. I'm not talkin about the race change or any of the race swipe, whatever, I'm fine with that, because I've been discussing this with my friend (Jonathon) recently that, like, you know, when they changed Kingpin (white mofo) into an African-American man (great performance by Micahel Clarke Duncan, btw!) in 2003's Daredevil. It actually worked because the essence of the character was retained. and it was proper, and faithful to the comic book storylines. But then again you have Jamie Foxx, playing Electro in The Amazing Spider-Man 2, and that fell apart really, really quick, because, although Jamie Foxx is a good actor, he got a really, really @#$%%! script! CAPTAIN AMERICA: LANGUAGE!!! Same with Andrew Garfield, because I've met the guy at a Spider-Man meetup event at San Diego Comic-Con. in 2013 and Andrew Garfield was really, really tired, you could tell that he was crushed, because we're talking about a character that meant so much to him from the age of three. Andrew Garfield: "I needed Spidey in my life when I was a kid. He was living out mine and every skinny boy's fantasy and he gave me hope, and upon receiving his power unlike most, who become corrupted, he used it for good and I think we all wish that we had the courage to stick up for ourselves more." And then he (Andrew) sees how everything is falling apart DEMON PASCAL/DEMON ARAD (together): "PRAY!!!" and how the dream that he had of portraying this great character, from inspiring people, and, hopefully, do some good storylines... it wasn't happening. I think I'm probably running out of good things to say about Spider-Man because everything is bad, even the video games. Why I like the early Playstation games (SM1-SM2: Enter Electro) so much because Playstation games had a lot of creative fantasy, lots of costumes (from the comic book history) that was a very, very new thing at the time that you could pick up a different Spider-Man costume. It had a gallery of classic comic book covers that you could click on. For myself, as a guy from Europe, I had no access to Spider-Man comics when I was a kid. All I had was, the animated series, the video games and the Toy Biz action figures. So, there was that. And for me, the biggest dream that I had at that age, was "Oh, boy, if I ever get my hands on the things (comic book issues) that they showed in this video game through the covers, if I ever get my hands on these issues, I'm going to read every single Spider-Man issue that I could possibly find. And then I really did that, only when I was a little bit older, but at least I was satisfied with what I had to read because you had a lot of great titles: The Spectacular Spider-Man, The Sensational Spider-Man, Friendly Neighborhood Spider-Man, Peter Parker: Spider-Man, featuring all great storylines, but now... *vinyl scratch sound* ... you have so many titles and it doesn't feel like you want to read about Spidey's adventures anymore. It all feels like: "Oh, we have to pander to this segment of the audience (MCU fans), to that audience (bloggers and news sites)" and bla-bla-bla. Our characters have to evolve, if they're not evolving and we're constantly rewriting and retconning their history, then what's the point in being interested in that character? You might as well just scrap it all and rename them ITALIAN SPIDER-MAN!!! That's what I like about the DC Animated Universe (Batman: TAS, The New Batman Adventures, Batman Beyond, Justice League and JLU). What I like about this: if you combine all of these episodes together, you have Bruce Wayne's story from his very childhood up until he becomes a teenager, then he becomes a grown man, an adult, an old man. And then you have Terry McGinnis stepping up to take the mantle of Batman. And everything is full circle, the story is complete! *CLAP* And Spider-Man... welp... my biggest disappointment with Spider-Man is that this character from 1962, this great, great character was that close to growing up and becoming an adult. Of course, they did that in the 1990's with the Spider-Girl series where Peter assumed the role of the father and Mary Jane became the mother, and then they had a daughter (+ her little brother) who became Spider-Girl, but that was in a "What If?" scenario, in another universe, it wasn't something that was canon! I would like to read something to you, because I feel that it's very important to state. This is a quote by J. Michael Straczynski and it's a great one because it allows you (the viewer) to understand exactly what I'm going through and what Andrew Garfield was going through. It's about decent individuals that had a very close association with Spider-Man for a long time, but then, their appreciation of the character got annihilated by certain folks, that are more concerned with false representations as opposed to achieving a proper grasp and an understanding of essential qualities that make Peter Parker the hero that we all know, love and respect. J. Michael Straczynski: "I've lived my life and based my career on one straightforward notion: that the work should be fun. As long as it's fun, keep doing it. The moment it stops being fun, stop doing it." So, in conclusion, I would like to say that reading Spider-Man is not fun anymore, watching Spider-Man on the big screen is not fun anymore, watching the new animated series is not fun anymore! Playing the video game about Spidey (PS4; based on all the gameplay clips and other footage) that's going to come out next year, is also not fun anymore, Because it just doesn't have enough creative imagination, it's too realistic, it doesn't have the flavor of the fantasy, bright 'comic book-y' colours, it all has to be like: "Oh, we have to replicate the success of the Arkham games (Batman)." So for myself, personally, there is not a single medium right now, at this time, in my life where I could enjoy one of my favorite childhood heroes, Spider-Man. I can't enjoy Spider-Man anymore, I can't enjoy having good storylines with this character. Everything that they're doing with him, be it teaming up with Iron Man, making him dependent on Tony Stark, making strange faces (Holland) after his nemesis (the Vulture) daughter (Liz Allan) goes away... I miss that Spider-Man a lot because the stories were good, but you have to understand me, you have to understand that I've spent quite a long time with this superhero, reading classic storylines, being deeply invested into the lore of the character. And to see it all go to @#$! CAPTAIN AMERICA: GOOD WORK, SOLDIER!!! because certain people don't know what to do with the character and they are sucking out some new idea out of wherever... This is not my Spider-Man! You know what I mean? My Spider-Man... it's different (and complicated!) This was a good Spider-Man. You have like 616 universe and then you have the Ultimate Universe, up until issue #64, then in that issue, it really gets weird and Bendis, kind of, turned from a great writer into the writer (WE ARE VENOM!!!) that does A LOT OF QUESTIONABLE things. And then, what I wanted to say is Sam Raimi's films were also great because they reflected the vibe & the energy of the early Spider-Man comics. Unlike Marc Webb (TASM franchise director) and Jon Watts (Homecoming director), Sam Raimi had a great visual style and he had a visual eye for a lot of things. That's why there are so many iconic shots in his Spidey films. In Spider-Man: Homecoming, there wasn't a single iconic shot that I can remember. Everything is CGI & VFX. With all Spider-Man products (from the past), be it Spider-Man: Unlimited, Spider-Man: The Animated Series, Spectacular Spider-Man, the films, Sam Raimi films, the music is so memorable: Danny Elfman's score, animated series score (by Udi Harpaz), you still remember it to this day: how it sounded. And how the music enhances the experience of going for Spider-Man's adventures, whereas in the new film, Homecoming... Michael Giacchino, despite the fact that he is a famous composer, he did nothing memorable in that film. Oh, yeah, he scored the 1960's Spider-Man tune in the orchestral arrangement and variation, but it wasn't a good thing. It felt flat to me. This is my 1st time on YouTube. and this is something that has been BUGGING me for YEARS and I couldn't express myself properly because you know, writing some kind of a blog post or something like that sure, it might get to a couple of people here and there, but I don't think that the majority of kids or teenagers or adults (older Spider-Man fans) are going to be there to read a blog post about it. And I just want to make a change. I just want to convince you guys, that that what they're trying to sell us (Homecoming, Marvel's Spider-Man & other nonsense) is just another corporate product. Please, don't consume it. Don't allow the House of Mouse (and the House of No Ideas as well) to dictate that this is the new Spider-Man for the new generation. It's awful... I am going to sign off right now. Thank you for your listening, dear friends. It's been a wild ride! Think about it... what a glorious day! Spider-Man's 55th Anniversary! 10th of August, 1962. The day when Amazing Fantasy #15 was first released and the world was never the same afterwards! God bless Steve Ditko & Stan Lee! My name is Yan Eden & you've been watching the 1st episode of my new online programme "Observation of Creative Souls". Where I will be discussing other unusual things that go BEYOND the realms of the comic book industry. Today's main topic of discussion was: "Why Spider-Man is No Longer Relevant (1962-2017). Death of a Dream". Also, don't forget to celebrate Spider-Man's 55th Anniversary with this new special hashtag (#): #CreativeSpiderManAt55 And do let me know what you think about my new video in the comments section. You can contact me through my Twitter (, Instagram ( and FB group ( accounts Once again, thank you very much for watching my very 1st video on YouTube. Have fun, subscribe, enjoy your day and remember that "WITH GREAT POWER, COMES GREAT RESPONSIBILITY!" (Uncle Ben's words as performed by Cliff Robertson in Spider-Man 2) Spider-Man (Christopher Daniel Barnes): "That's all for tonight folks!"


  1. ^ League, The Broadway. "Ronald Millar – Broadway Cast & Staff - IBDB".
  2. ^ Kavanagh, Denis, "Sir Ronald Millar", The Independent, Financial Times Ltd., 1996 (ISSN 0951-9467).
  3. ^ Berlinski, Claire, There Is No Alternative: Why Margaret Thatcher Matters, Basic Books, First Trade Paper Edition, 2010, p. 37.
  4. ^ Millar, Ronald, A View From the Wings, Weidenfeld & Nicolson, London: 1993.
  5. ^ IMDB,
  6. ^ League, The Broadway. "Abelard and Heloise – Broadway Play – Original - IBDB".

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This page was last edited on 13 October 2018, at 08:44
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