For the Bruce Springsteen faithful – and probably those who feel that way about Jeremy Allen White – today, October 24, 2025, has been a long time coming, as Springsteen: Deliver Me From Nowhere is finally showing in movie theaters across the globe.

Now, for lack of a better analogy, the Boss has been the soundtrack of my life – well, for most of it – so I headed to a local AMC Theatre with Dolby Cinema in the great state of New Jersey for an opening-night preview screening.

I had a lot of feelings going in, especially since Springsteen: Deliver Me From Nowhere isn’t like most biopics. But I wouldn’t even call it that, because it focuses on a very specific, short time in Springsteen’s career. Instead of portraying the many months spent on getting Born to Run just right or even Born in the U.S.A.’s release or Springteen’s rise to stratospheric stardom, it turns the spotlight onto one of his darker chapters – one that Springsteen became more open about in his memoir Born to Run and in Warren Zanes’s Deliver Me From Nowhere, which is the book that inspired this film.

So, let’s dive into it – and fair warning, I’ll have some mild spoilers ahead, though it’s kind of comical as this is based in reality, and we all know about Nebraska.

Inside Nebraska

Warning: some spoilers for Springsteen: Deliver Me From Nowhere lie ahead.

Springsteen: Deliver Me From Nowhere is a lot better than I was expecting it to be. It’s a good film that’s more like a deep character study of a specific time in Bruce Springsteen’s life. It jumps from before, during, and a bit after the recording of Nebraska, giving a deep dive into his mental health – both Bruce’s and his family’s – and his upbringing. The latter is done through black-and-white flashbacks, which at times feel a bit out of place but do an excellent job of at least rooting the pain and depression.

It opens showing a glimpse into that upbringing, but soon ties the anxiety and rush of an encounter into the rush and thrill of performing Born to Run to close out The River Tour. This is our first glimpse, and one of the few, of the E Street Band during Springsteen: Deliver Me From Nowhere.

I never really got comfortable believing Jeremy Allen White was entirely the embodiment of Bruce Springsteen, but he sure gives off the look of a rock star known for energetic performances. Maybe most importantly, Allen White doesn’t just do an imitative voice of the Boss but, in my opinion, does a lot more with body language and how he presents himself.

From there on out, we see the relationship between Jon Landau – played by Jeremy Strong – and Bruce unfold on screen, and it matches the real-life relationship. They were two friends forever, who clearly had each other’s backs, and Landau definitely does a masterclass in being an agent, manager, and friend – fighting for what the artist wants.

We see Bruce then settle into a rental in Colts Neck, dive deep into some reading, and eventually watch Terrence Malick’s 1973 film Badlands, which pushes him to research a bit more and eventually start on a track of songs dubbed Starkweather, which becomes Nebraska. Seeing this process depicted on the big screen, and the historic room with the orange shag carpet, is something of a bit of a holy grail. And Jeremy Allen White does get the singing voice pretty close, as well as the guitar playing, though there is a unique blending. I also need to give a shout to the audio quality in this Dolby Cinema theater, but also to the mixing team on Springsteen: Deliver From Nowhere, it is done excellently. And there are a few tracks where the singing shifts from Jeremy Allen White to Bruce Springsteen, and vice versa.

We also see Bruce go on a few dates with a character, Faye – who in reality is a composite, and we see that struggle as he runs away from fame and goes on some self-discovery, which in turn is himself feeling like an outsider in his own body.

The human story behind the music

Beyond the recordings, I think what really hit the most with me was the visual telling of Springsteen’s struggles with his own mental health and that of his father’s, and the repairing of their relationship. While it’s rooted in fact, director Scott Cooper certainly took some liberties here and sped up the timeline.

It’s rare, I think, for Bruce himself to be so open with showing, telling, and reliving this, and Jeremy Allen White really shines in these scenes – he depicts the feeling of an outsider in their own body perfectly, acting the build-up to a breakdown and a panic attack with realism. Allen White also shows the struggle of realizing something is up but not knowing how to seek help – remember this is in the 1980s, specifically 1982.

I think those are the most powerful moments, and even if the pacing could be slow at times, it lets these moments of the film really build up and be delivered with ample time. For those who have read Born to Run or maybe watched Springsteen on Broadway, I think this acts as a really nice introspective and deep dive into Nebraska.

Yes, it’s more niche than, say, Born to Run, Born in the U.S.A., or Springsteen’s other work, but it’s also the most raw, natural, and, in the end, more impactful. It’s an important aspect of how the Boss became the Boss, and while I had my doubts going in, the result is an impactful, good film that’s very deep, emotive, emotional, and ultimately a close character study.

Yes, it can be hard to get past the fact that Jeremy Allen White is not Bruce Springsteen, but thanks to the attention to detail, the physicality, and the close study, it’s believable – minus the looks.

Ultimately, Springsteen: Deliver Me From Nowhere explores the process of coming to terms with childhood trauma and the impacts of that, which can sit with you and become a theme of life as you move on. We’ve known Bruce’s family has had mental illness, and he's had his own demons; the art comes from that to a degree.

It may not hit every note perfectly, but I think fans will like it – it’s an honest, heavy, and deeply human look at Springsteen during arguably one of his darkest periods, one that still showcases the music-making process with just a taste of E Street Band greatness.

Ultimately, an antithesis of most biopics – a good thing.

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Spoilers follow for all four episodes of Marvel Zombies.

Marvel Studios has a patchy record when it comes to its animated projects. Sure, there have been hits like X-Men 97, but other productions – in the main – like Eyes of Wakanda and What If...? have flattered to deceive.

It's the latter that Marvel's latest animated show, Marvel Zombies, takes its cue from. A continuation of the story told in What If...? season 1 episode 5, titled 'What If... Zombies!?', the comic giant's first adult animated TV series is undeniably its most mature offering to date.

But, for all of its delightfully gory action and focus on the next generation of Marvel superheroes, it's weighed down by the same storytelling issues that have plagued many of the studio's other recent animated works.

The new avengers

A four-part miniseries, Marvel Zombies is set five years after the initial zombie outbreak. A cataclysmic event caused by a virus that Dr Hank Pym brought back from a trip to the Quantum Realm in 'What If... Zombies!?', the planet Earth of this universe, one that sits adjacent to the Marvel Cinematic Universe (MCU), has become a dystopia overrun by the undead.

Pockets of humanity remain, though, including a desperate groups of superpowered individuals who cling to survival against the odds. But, when a trio of heroes – Kamala Khan/Ms Marvel, Riri Williams/Ironheart, and Kate Bishop/Hawkeye – discover a key that could end the zombie scourge, the group embark on a dangerous, globetrotting journey to save their world.

Marvel Zombies opening with the aforementioned triumvirate is intentional. Khan is arguably the protagonist of this story, with the optimistic and empathetic New Jersey-hailing hero being the center point that the plot is built around, as she reluctantly and then boldly leads the charge to end the zombie plague.

In Williams, Bishop and Khan, though, Marvel Zombies immediately sets out its stall to primarily focus on the new wave of superpowered beings who have begun to populate the MCU post-Avengers: Endgame.

Zombies doesn't solely rely on that intrepid trio, either. From Shang-Chi and members of the Thunderbolts* to Moon Knight and Blade – the latter pair are admittedly spliced together to form a new yet incredibly cool individual called Blade Knight – it's highly satisfying to see the next generation of Earth's Mightiest Heroes take center stage.

That said, it's somewhat bittersweet that animated projects, such as What If...? and its zombie-based spin-off, mark the first time we've seen some of these popular heroes since their live-action MCU debuts – or, in Blade's case, who's only 'appeared' via an off-screen cameo in Eternals, at all.

An indictment of Marvel's scattergun approach post-Endgame that's seen the comic titan throw stuff at the wall and see what sticks with audiences, it's a great shame that many of Marvel Zombies' leading lights are only now getting another chance to shine, albeit via an animated Disney+ production.

Irksome though that is, I will admit it was really fun to see interactions between characters who are yet to cross paths in the MCU.

While all-too-brief to be emotionally impactful, the Khan-Bishop-Williams dynamic is incredibly likable, as is the broader team-up between Khan, Red Guardian, Yelena Belova, Blade Knight, Shang-Chi and the latter's bestie Katy that becomes the core collective for much of Marvel Zombies' run. I regularly revelled in seeing these individuals bounce off each other and re-demonstrate that whip-smart humor that Marvel projects are renowned for.

For all of the fun-filled rapport on display, though, Marvel Zombies was a bit too quippy and corny for my tastes on occasion. I wasn't expecting the Marvel Phase 6 TV series to be a wholly miserably affair. Nonetheless, seeing Red Guardian and Zombie Captain America duke it out in what I can only describe as a slapstick showdown, or listening to eye-roll inducing jokes from FBI agent Jimmy Woo, just didn't fit the mood or tone of the post-apocalyptic horror reality that Marvel Zombies takes place in.

The walking dead

Speaking of the hair-raising universe that Marvel Zombies exists in, Marvel doesn't hold back in making its first TV-MA project as gruesome as possible.

Marvel Zombies' first trailer teased its brutality and, while I had hoped for a bit more in the way of ultra-violence, it goes harder than any other Marvel Studios movie or TV show to date. I cannot stress this enough, but it's absolutely not family-friendly, nor is it for those who are squeamish or of the faint of heart.

If you can stomach its hyper-violent tendencies, though, Marvel Zombies will reward horror fans through its clear homages to some fan-favorite genre fare. Indeed, whether it's the dread-inducing 'Hardhome' episode of Game of Thrones, or scenes that reminded me of similar sequences in World War Z and Train to Busan, some of Marvel Zombies' best set-pieces and scenes add real cinematic flair to proceedings that occasionally conceal the mid-tier art style it retains from What If...?.

However, all the horror genre references in the world, nor positive things I've said about Marvel Zombies, can disguise my frustration with its wider narrative, though.

I'll preface my criticism by saying there's the skeleton of an engrossing story here. Indeed, its plot makes some interesting revisions to the world-building aspect of the MCU. The recycling of certain MCU technology to try and thwart the threat posed by the undead is put to good use, too.

Add in the previously discussed new-look Avengers team, the camaraderie that exists between them, and the prospect that none of them are immune from becoming the zombie horde's next victim, and I actually appreciate some of the creative and narrative swings that Marvel Zombies takes.

Nevertheless, Marvel Zombies is hamstrung by irritating storytelling components.

Whether it's the rudimentary MacGuffin positioned as the answer to our heroes' prayers, the decision not to pick up the story immediately after the cliffhanger ending in 'What If... Zombies!?' or a spate of character deaths that are significantly lacking in the gut-punching and/or tear-jerking department, at times Marvel Zombies can feel as emotionless as the reanimated corpses that inhabit its world. That's before we even get onto my biggest gripe about a major narrative inconsistency that occurs in its final episode, which not only changes a key moment near the end of 'What If... Zombies!?', but is practically waved away without explanation.

Part of Marvel Zombies' plot-based problems might be the fact it's a glorified TV show. Originally, it was designed to be a two-hour movie but, due to the complexities of the rights surrounding Spider-Man – don't worry, the lead of 'What If... Zombies!?' plays a part of proceedings, albeit in a reduced role – that prohibits Marvel from using him in a feature film capacity without Sony's consent, Marvel Zombies was turned into a limited series.

As a Spidey fanboy, I'll always take any webslinger-based storytelling and action where I can. However, there's no denying that his ongoing inclusion in this What If...? spin-off upsets Zombies' narrative rhythm.

My verdict

I really wanted to like Marvel Zombies more than I did. That doesn't mean it's another average or poor offering from Marvel – indeed, there's frightful fun to be had with its gratuitous violence, unexpected team-ups and universe-altering stakes. Based on its ending, there's clearly an appetite to continue its story, too.

Nonetheless, if X-Men 97 is the high bar with which we judge projects developed by Marvel Animation, Zombies is something of a let down. That might be overly critical of me to say, especially when I also consider Zombies to be a better and more enjoyable Marvel TV Original than What If...? and Eyes of Wakanda.

Given my high expectations and excitement for Marvel's first adult animated show, though, I can't mask my disappointment for Marvel Zombies as an overall package. If its creative team gets another bite at the cherry with another season, I'd love nothing more for them to cure Zombies' narrative ailments. For now, though, Marvel Zombies is another project from the comic giant that'll shuffle onto Disney+ and likely be forgotten about within a week or two.

Marvel Zombies is out now in full on Disney+.

When I was a kid in the early 2000s, Lindsay Lohan was across the holy trinity of sleepover movies: Mean Girls, Confessions of a Teenage Drama Queen and Freaky Friday. Each is a sacred text, a rite of passage watched until you and your friends are all word perfect, songs and scenes ingrained into your memory well into adulthood.

Thankfully, Hollywood is hellbent on resurrecting as many existing IPs as it possibly can, meaning Disney is giving us girls now in their 30s a sequel to the 2003 body swap comedy Freakier Friday. In the original movie, a mum and daughter swapped bodies, which allowed them to realize how they’ve been unfair to the other (don’t worry, they got switched back in the end). Lindsay Lohan is now on the other side of rebuilding her post-child star life and ready to reunite with Jamie Lee Curtis, and the result is absolutely glorious.

Mild spoilers for Freakier Friday ahead.

Let’s start with the bad news: Lohan’s Anna and Jake (Chad Michael Murray) are no longer together in Freakier Friday, despite their will-they-won’t-they romance being the entire plot of the first movie. Anna has decided to go parenthood alone in Freakier Friday, raising now 15-year-old daughter Harper (Julia Butters) on her own. Tess (Curtis) is the psychologist-turned-podcaster we remember, intent on helicopter grandparenting as best as she can. Anna meets fellow parent Eric (Manny Jacinto) when Harper gets into trouble with his daughter Lily (Sophia Hammons), and the two fall in love. When Anna and Eric soon plan to get married, a (frankly terrible) mystic at her bachelorette party swaps spirits between the quartet, and it’s a race against time to fix it.

When I found out that the storyline beats were almost exactly the same as the original movie just with additional characters I didn’t want, and even when I saw the trailer, I was braced for the worst. However, nothing could have prepared me for the spring in my step immediately after watching the full movie, which is a lightness I haven’t felt through films for decades. Freakier Friday ticks all the boxes we’re desperate for it to (feel-good storytelling with a light-hearted touch, Lohan at her best, silly nods to girlhood) and that’s going to be a lot of happy young women who’ve been left unfilled by mainstream media.

Freakier Friday is far from perfect, but it is a millennial teenage dream

The best things in life are those that are perfectly imperfect, and in an industry that’s striving for AI greatness and motion-blended superhero glory, that’s refreshing. As a Disney movie, Freakier Friday is not trying to be anything else – it’s not trying to compete as a box office smash, and it’s not trying to get a new audience base. Instead, it’s a love letter to its fans from way back when, and in turn, for Lindsay Lohan, too.

For me, the best part of Freakier Friday is seeing a happy, healthy Lohan back where we want her and absolutely loving it. She thrives working with Curtis and Murray, and it’s almost as if no time has passed. Freaky Friday clearly created an environment she felt comfortable in, meaning she could give her whole heart to the sequel when the timing was biologically right (according to Curtis, Disney was approached when Lohan could viably have a teen daughter).

Lohan turns up to our premiere in a nod to the final outfit she wore in Freaky Friday, and the love in the room for what they have created is palpable. It shows in every one of her scenes, effortlessly finding the balance between legendary Disney icon and a comeback kid proving she never lost the acting chops she was once heralded for. Between them, Lohan and Curtis go full throttle back into the 2000s, with plenty of references to their original movie through a stylised narrative structure typically left behind in the noughties (think school food fights, comedic detention scenes and impromptu fashion shows).

If you’re a fellow child of the noughties, Freakier Friday has this wonderfully rare ability to suspend time, leaving the everyday stresses of 2025 life at bay. In this bubble, the biggest worry is seeing whether Pink Slip will play ‘Take Me Away’ (more on that later), and if Anna will make it to her wedding on time. There’s love, laughs, and plenty of Easter eggs, and it’s genuinely the closest we can come to travelling back in time.

New additions hold up just as well, for the most part

However, this doesn’t mean the new elements in Freakier Friday are left out in the cold. There’s a fresh take on modern social stereotypes that doesn’t feel as though someone’s mom has written it – instead the movie comes across as understanding what it means to be a young woman in the 2020s. Nobody is taking themselves or anything around them too seriously, meaning the movie has flexibility to lean into the unhinged storytelling that children’s TV was fixated with 20 years ago.

The only place this doesn’t entirely work is with popular singer Ella (Maitreyi Ramakrishnan), who Anna now manages. She struggles to feel like a popstar that would genuinely appeal to the TikTok generation, shoehorned into the plot just so Anna has enough emotional background to make up for her split with Jake.

This brings me to my biggest gripe with the sequel – you cannot continue a well-known 2000s IP and not use Chad Michael Murray properly. He was the biggest onscreen heartthrob of a generation, and I was genuinely overcome with nostalgia by seeing him in the flesh just before watching the movie. I hope he’d still be with Anna (or at the very least be back together by the end), but he’s sparsely seen and is only used to prop up jokes coming from Tess. There’s no explanation for why they’re no longer together, and, without spoilers, there’s certainly a missed opportunity to extend his connection to the movie’s main dilemma.

But enough about Chad (I’ll just rewatch Sullivan’s Crossing for a Murray hit). What about Pink Slip? Yes, the iconic fictional band is back together, and yes, you’ll see the entire back catalog. I recommend watching with your best friend for the full emotional effect of belting the words as the band has their onscreen reunion, albeit you might be a bit thrown off by a jarring edit that goes against the original film’s soundtrack. Still, this is a small price to pay for a cinematic moment of dreams, and boy, seeing Christina Vidal back where she belongs is mine.

Frankly, I’m impressed with Freakier Friday. The minute a sequel comes out decades after the original, it’s set up for a losing streak, but Lohan and Curtis’ effortless embodiment of 2003 means the overall premise works despite the huge chunk of time in between. Cinema buffs will say it’s terrible, and they’re probably right. But Freakier Friday is a worthwhile sequel, and it’s definitely what I – and I imagine other noughties children – want.

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Slight spoilers follow for Ironheart.

Ironheart is an underdog in every sense of the word.

Despite man-of-the-moment Ryan Coogler's involvement, the final TV show of the Marvel Phase 5 era was mostly written off well ahead of release; few other live-action Marvel TV projects have faced an uphill battle to convince Marvel Cinematic Universe (MCU) devotees and casual fans alike to watch it.

Write off Coogler, the comic giant, and the series' titular hero at your peril, though, because Ironheart is an impressive Disney+ TV Original that largely hits its marks. Yes, it falls into the perennial traps that other small-screen MCU projects have, but after watching all six episodes I was pleasantly surprised by its style, energy, and emotionally impactful story that explores themes around family and flawed heroes.

Tech check

Set days after Black Panther: Wakanda Forever, i.e., the MCU movie in which Riri Williams (Dominique Thorne) made her live-action debut in, Ironheart opens with the eponymous character returning to her hometown of Chicago. The reason? She's kicked out of the Massachusetts Institute of Technology (MIT) for selling completed assignments to other students to fund development of her Iron Man-inspired super-suit.

Financially broke and suit-less – after the self-made prototype suit, which she steals from MIT, malfunctions on the flight home – Riri soon crosses paths with Parker Robbins/The Hood (Anthony Ramos). The mysterious, magical cloak-wearing leader of a street gang, Robbins preys on Riri's ambition to build a new, souped-up suit by saying he'll fund her creation in exchange for helping his crew conduct heists.

Central to Ironheart's story is the internal struggle Riri continually wrestles with. At her core, she's a good person – indeed, due to a deeply traumatic event that occurred years prior, Riri wants to "revolutionize safety" by creating a suit that can be used by first responders and other emergency services personnel.

It's that philanthropic nature, among other things, that draws parallels with a certain Tony Stark, whose ghost looms large over yet another MCU project. However, given their comic book ties – Stark is a long-time mentor of Riri's in Marvel literature – Stark's posthumous influence is more valid here than in prior MCU productions, even if the namedropping is occasionally incessant.

That said, while Riri wants to build on Stark's legacy and make something "iconic", her unwavering ambition and Stark-sized ego occasionally paints her as an anti-hero in the vein of Breaking Bad's Walter White or, in more familiar MCU terms, Frank Castle/The Punisher and Loki. Riri's a more complicated and naïve hero than we're used to seeing, and that make the decisions she makes, and the consequences spawned by her actions, all the more fascinating.

Fight off your demons

The dichotomy at the heart of Riri's story is further heightened by the moral complexities and grief born out of the loss of her stepdad Gary (LaRoyce Hawkins) and best friend Natalie (Lyric Ross) in a random act of gun violence.

This excruciatingly painful event is not just a driving force behind Riri's ambition to make the world a safer place, but also a moment she refuses to confront. Such a deep-seated mental and emotional scar is a breeding ground for PTSD and panic attacks, which here are handled with greater precision, creative flair, and sensitivity than Stark's post-Avengers mental health problems were in Iron Man 3.

In Thorne, Ironheart has a talented lead with the swagger, emotional nuance, and comedic timing – despite its melodrama, occasional toe dips into horror, and suspense-filled Ant-Man-like heisting, Ironheart is a surprisingly funny show – to bring all aspects of its protagonist to life, too.

She's not the sole bright spot among Ironheart's cast of characters.

The scene-stealing Ross, who plays Natalie in flashbacks and also portrays N.A.T.A.L.I.E – an AI construct like Iron Man's J.A.R.V.I.S. and F.R.I.D.A.Y, and Black Panther's Griot, who Riri inadvertently creates – helps to bring a playful and squabbling relatability to the dynamic Riri shares with both characters. The pair's natural rapport is evident from the outset and, while the way in which N.A.T.A.L.I.E helps to strip away Riri's metaphorical armor to allow the latter to process her grief is a little on the nose thematically, it's a 'bestie' dynamic that's full of real heart.

Dancing with the devil

Ross, Riri's concerned and warm-hearted mom Ronnie Williams (Anji White) and Natalie's brother Xavier (Matthew Elam) notwithstanding, Thorne shares the most screentime with Ramos' The Hood, whose introduction is not only novel in its execution, but also happens very early on.

Some Marvel TV shows are guilty of prolonging their narrative setup, but Ironheart gets to the crux of its primary plot within the first 30 minutes of its premiere. That might seem quick, but I can fully get behind a story that tackles its meatier content sooner rather than later – and which still maintains an air of mystery despite its fast-paced nature.

This doesn't mean Ironheart's narrative structure is consistent in its quality. Some episodes feel hurried and, by proxy, don't spend enough time reflecting on character choices or fleshing out certain plot threads. It also follows in most MCU TV series' footsteps by rushing through its finale that, spoilers notwithstanding, sets up a possible sequel season and teases wider implications for the MCU via the arrival of a character MCU fans have waited years for.

Ironheart has a semi-regular issue with its villains, too. Fans were full of praise for Ramos' take on The Hood when the show's first full clip was released online, but he feels a little underdeveloped in Ironheart's first half. It's not until the series' second three-episode batch that he's fully realized as a menacing antagonist through his powerset, and positioned as a sympathetic villain via his backstory. In certain lighting, his magic-infused cloak is a tad garish, too, but I suspect that's intentional.

Joe McGillicuddy (Alden Ehrenreich) falls into a similar category. A fascinating mix of bumbling and unhinged with his own tragic past, Joe bonds with Riri over their shared technical expertise and grief until their budding camaraderie is shattered by events midway through Ironheart's six-episode run. The fallout creates another conflicted antagonist for Riri to deal with but, while Ehrenreich does a fantastic job of capturing Joe's betrayal of trust and emotional turbulence, his evolution from timid ally to complicated foe happens too quickly for my liking.

Still, Joe's transformation, along with Riri's magic-based suit upgrade and other references to the MCU's mystical elements (there are as many ties to Doctor Strange as there are to Iron Man here), satisfyingly blur the lines between the magic-versus-technology storyline we've been sold. Yes, Ironheart pits these diametrically opposed forces against each other, but also acts as a collision point where they can come together and create something wholly unique for the MCU.

What's more common is the at-times clunky and stifled dialog, which some fans pointed out in Ironheart's first trailer and isn't aided by hard cuts between specific scenes, particularly in early episodes.

It's also another Marvel production that refuses to explain certain things with enough intent. Sure, the MCU is a franchise where superpowered beings run riot and parallel universes exist among other things, but I don't think I'm asking for much by wanting a bit more story exposition, especially for viewers who haven't seen Black Panther 2. I guess my Wakanda Forever ending explainer will have to do!

My verdict

Ironheart exceeded my expectations with its smaller-scale, family-oriented, street-level-style narrative that reminded me of Hawkeye, Ms Marvel, and Daredevil: Born Again, all of which I similarly enjoyed. I feared the worst when Marvel confirmed Ironheart's unusual release schedule, but its two-part release format lends itself well to the story it tells.

It isn't the best Marvel TV Original, but I suspect Ironheart will prove a lot of people wrong. It'll be a tough ask to win round anyone who's already dismissed it but, if it does so through mine and other critics' reviews, plus positive word of mouth, then Coogler, showrunner Chinaka Hodge, and the rest of its chief creative team might have built something iconic for Riri Williams after all.

Ironheart episodes 1 to 3 are out now on Disney+. Read my Ironheart release schedule article to see when its final three episodes will be released.

Major spoilers follow for Daredevil: Born Again episodes 1 and 2.

Daredevil: Born Again has been one of my most anticipated Marvel projects since it was officially announced in May 2022. A lot has happened in the near-three-year period between said reveal and its release, though, including a creative overhaul of Born Again's story and the 2023 Hollywood strikes that had me wondering if my faith in it was misplaced.

I need not have worried. Based on its two-episode premiere, Daredevil: Born Again is an unflinching, worthy successor to Netflix's Daredevil TV show that honors what came before, and drives Matt Murdock and Wilson Fisk's stories forward in unexpected ways.

The devil reincarnate

Season 4 of Daredevil in all but name, Born Again picks up where the fan-favorite Netflix series ended. Murdock (Charlie Cox), Karen Page (Deborah Ann Woll), and Franklin 'Foggy' Nelson's (Elden Henson) newly established law firm appears to be doing well, and the group continue to frequent their local haunt – Josie's Bar – after a long day of fighting for those in dire need of legal aid.

Seeing Cox, Woll, and Henson again was like being reunited with three of my best friends. Their chemistry is a large part of what made Daredevil such a compelling watch, so I was delighted to see that their camaraderie hasn't lost an ounce of its unmistakable magic.

The ease with which the trio slip back into their roles makes it all the more baffling that, until Born Again's creative troubles surfaced in October 2023, it was initially going to be a pseudo-sequel to, rather than a direct continuation of, Netflix's TV adaptation that didn't acknowledge Murdock's closest allies. This group, as well as the returning Wilson Fisk (the always-scene-commanding Vincent D'Onofrio), is the primary connective tissue between the Netflix show and its Disney+ follow-up. It's heartening, then, that Marvel brought Woll and Henson back into the fold, allowing for the resumption of their on-screen dynamics with Cox, and each other.

That makes what follows, which was first teased in Born Again's official trailer, all the more heart-breaking. A heart-pounding 10-minute segment, which includes a terrifically choreographed 'oner' sequence involving Daredevil and returning villain Bullseye (Wilson Bethel) that replicates Daredevil's expertly-crafted action set-pieces, such as the infamous hallway scenes, is as soul-crushing and incredibly violent as you'd expect.

Prior to its release, I worried that Page or Nelson weren't long for this world after leaked Born Again images had me fearing for the fate of one of these beloved characters. Nothing could prepare for me, though, for the emotionally blind-siding events that results in one of their deaths and, in the wake of such a tragedy, sees the other leave New York for pastures new. I've spent so much time with this trio across multiple Netflix shows, and now here in the Marvel Cinematic Universe (MCU), so it's not an exaggeration to say I was left feeling incredibly hollow over the dismantling of this tight-knit group.

Necessary as that tragic moment is to move Matt Murdock's story forward, it pains me that the trio's reunion is not only such a short-lived affair, but also that we'll never see them share the screen again.

I appreciate that Born Again represents a new era for The Devil of Hell's Kitchen – after all, he's officially part of the MCU now. His character evolution and the introduction of individuals who enter his orbit notwithstanding, though, I wish the series spent more time with Murdock, Page, and Nelson as a collective. It would have further helped to bridge the gap between one of the best Netflix shows and its sequel, and largely suppress how jarring some aspects of episode 1's first 15 minutes are from an editing perspective. I'm glad that Born Again's creators course-corrected to include Page and Nelson, and I enjoyed (if that's the right word) its unapologetically tear-jerking opening. However, even I'll admit that, compared to how the rest of episode 1 plays out, the scenes that comprise its prelude don't blend or flow naturally as they could.

Letting the devil out

Following that devastating curtain-raiser, episode 1 jumps ahead 12 months to reveal that Murdock has opened a new law firm with fellow attorney Kirsten McDuffie (Nikki M. James) and retired from the crimefighting life. He's also started dating Heather Glenn (Margarita Leveiva), a friend of McDuffie's and a therapist, so Murdock is slowly and positively moving on from the events of a year earlier.

Or so he thinks. Following his own traumatic experiences in Hawkeye and Echo (it's not imperative that you watch these shows and/or Daredevil before Born Again, but it helps if you do), Fisk is not only back in New York but running to become to its new mayor, with a campaign built on the promise of cracking down on the city's vigilante contingent – and it's a race the fearsome former crime lord who went by the name of Kingpin wins.

It's a triumph that inevitably puts Fisk on a collision course with Murdock – and Born Again doesn't make us wait for the first deliciously spine-tingling and suspenseful meeting between the pair since Daredevil's explosive season 3 finale. At Murdock's behest, the arch-rivals convene for a spur-of-the-moment get-together at a diner before election night. It's utterly absorbing to see these two sides of the same coin verbally and mentally spar in a cat-and-mouse game while their anger, plus their resentment for each other, simmers just beneath the surface. On this evidence, I suspect their grip on their new holier-than-thou facades won't last for long.

Different though their ideologies are, these broken men share similarities outside of their disdain for one another. That much is evident through the common ground they now share in wanting to clean up New York's crime-infested streets, but it's further highlighted by the personal struggles that they face. Individually, Murdock continues to be plagued by the loss of his best friends, while Fisk's marital problems with wife Vanessa (Ayelut Zurer) laces their now-fraught dynamic with an appetizing tension, and humanizes Fisk in a way that the Netflix show rarely did. The parallel journeys they embark on in an effort to bury their pasts, and to try and quell the internal conflict raging within, is the mutual cross they bear, too.

It's this stimulating character development that allows Born Again to cement itself as a narrative extension of its forebear, and empowers it to expand into new storytelling territory. One of my biggest fears with this Marvel Phase 5 project was that it would simply rehash character arcs and story beats from the Netflix show – and given the high regard that Daredevil is held in, that wouldn't have been out of the question. Color me relieved, then, that Born Again courageously drives Murdock and Fisk's singular and joint stories forward in a refreshing manner.

New blood

Born Again's supporting ensemble also adds an original flavor to proceedings that fleshes out the street-level corner of the MCU. James' McDuffie, Leveiva's Glenn, and Clark Johnson's private investigator Cherry challenge Murdock's deeply held black-and-white worldview with a zestfulness and toughness that suggests Murdock will have his hands full professionally and personally.

Where Fisk is concerned, the immediate stand-out is Michael Gandolfini's Daniel, an astute boot-licker who quickly ingratiates himself with Fisk to set up what I expect to become a lively surrogate father-son dynamic. The introduction of Genneya Walton's B.B. Urich, an investigative reporter and daughter of Ben Urich (you know, the journalist that Fisk murdered in Daredevil season 2), who wastes little time in questioning Fisk's motives, lays the foundations for a particularly tasty side story too.

There are parts of Born Again's two-episode debut that don't work as well as the newcomers who join Cox and D'Onofrio on the cast roster. At times, its visual effects and green-screen application is incredibly janky and noticeable, while the overuse of Zack Snyder-style slow-mo shots is largely immaterial to the feeling that certain scenes try to evoke.

I also found some of the camerawork to be off-putting, not least in Born Again's attempts to take a page out of The Bear's playbook with its creative exterior shots. I can see the appeal of – cliched as this is to say – trying to make New York itself a character in the show but, unlike the award-winning and critically-acclaimed Hulu show, it feels redundant here. That said, I enjoyed the old-school filming techniques employed for B.B. Urich's on-the-ground reporting, which actually serves a storytelling purpose.

My verdict

"I like to think I… we have evolved", Nelson says to Murdock and Page just minutes into Daredevil: Born Again's first episode, and I feel like there isn't a more apt description for Marvel Studios' latest small-screen endeavor.

It's more evolution than revolution but, some niggles aside, Born Again is an absolutely terrific continuation of Netflix's adaptation that, much like its eponymous hero, dares to be brave and is handsomely rewarded for it. It walks the fine line between familiarity (its grounded nature and high-stakes storytelling) and innovation (propelling its character-led, drama-filled narrative forward and seamless MCU integration), with an aplomb that few show revivals have managed.

If its first two chapters are anything to go by, and if the seven that follow are as good or even better, Daredevil: Born Again won't just be one of the best Disney+ shows ever created, but also an all-time Marvel Hall of Famer.

Daredevil: Born Again episodes 1 and 2 are out now. New episodes release weekly (NB: episodes 5 and 6 will be simultaneously released on March 25 (US) and March 26 (UK and Australia)).

Every generation has what they'd consider to be the definitive Spider-Man animated series. From the 60s original and 90s-era Spider-Man to more recent fare like 2008-09's The Spectacular Spider-Man and the ongoing series Spidey and his Amazing Friends, few superheroes have starred in as many animated projects as Marvel's iconic web-slinger.

Your Friendly Neighborhood Spider-Man (YFNSM) is the latest contender for the wallcrawler's best TV show crown. As a big Spidey fan, the first of six Marvel Cinematic Universe (MCU) TV shows that'll arrive on Disney Plus in 2025 was always going to interest me, regardless of how good or bad it was. Marvel Studios' first animated Spider-Man offering, though, is far better than I expected it to be. It's not as spectacular as last year's universally adored X-Men 97 – and there's one major reason why, which I've dedicated an entire portion of this review to. Nevertheless, it's a largely pleasing reimagining of the legendary superhero's origin story, vast cast of supporting characters, and unmistakable corner of the Marvel universe that most Spider-Man fans will enjoy.

With great power...

Story-wise, you know the drill by now: nerdy high-schooler Peter Parker gets bitten by a radioactive spider, develops superpowers, and vows to protect New York City from criminals (superhuman or otherwise) while dealing with the trials and tribulations of being a teen.

YFNSM, though, puts a somewhat unique spin on Spider-Man's creation. This iteration of Peter Parker (Hudson Thames) gets bitten by an irradiated arachnid that appears to hail from another dimension. Indeed, it arrives in this universe – i.e. one of the MCU's many parallel timelines – via a sling ring portal made by Doctor Strange as he battles a Shathra-inspired symbiote (just two of an immeasurable amount of Marvel cameos and references in this show, FYI). The 'spider from another reality' plot device isn't dissimilar to Miles Morales' superhero origins in Sony's Spider-Verse movies. YFNSM doesn't copy that film series' take on Spider-Man's inception but, spoilers notwithstanding, we don't learn about the spider's origins until the season finale. Even then, it's a semi-original plot twist that some viewers might work out ahead of time.

YFNSM's setting is vital for the other changes woven into its fabric. It was originally designed as a story that was canon in the MCU, and there are many signs that confirm this. Whether it's the subtle shades of Tom Holland's MCU-based web-slinger in Thames' take on Peter and his superhero alias, or sections of episode 9's climatic fight that mirror the final, fraught set-piece in 2021's Spider-Man: No Way Home, YFNSM was clearly intended to be a Spider-Man: Homecoming prequel show.

For reasons outlined by Marvel's Head of TV and Streaming Brad Winderbaum, though, the decision to reshape it into an MCU-adjacent project means it's not beholden to the journey that Holland's Spidey has gone on so far. And, honestly, it's all the better for it. Unshackled by the MCU's often weighty history, YFNSM has the creative and narrative freedom to simultaneously pay homage to the silver age of Spider-Man comics, and reinvent the stories and characters that defined his early crimefighting years.

Take the remodeled dynamic between Peter and one of his most iconic villains Norman Osborn (the excellent Colman Domingo), for example.

Just as Robert Downey Jr's Tony Stark/Iron Man was to Holland's wallcrawler in the MCU, YFNSM positions Osborn as a role model for Peter to look up to and develop a compelling surrogate father relationship with. Heck, Peter and Norman's initial meeting is a near-perfect recreation of Holland's Peter's MCU introduction in Captain America: Civil War, which is another indicator that YFNSM was originally designed as an MCU TV show.

But back to Peter and Norman. Their dynamic not only becomes a central component of season 1's primary plot but also keeps you guessing about the seemingly duplicitous Osborn's true intentions. Is he using Peter to achieve his own goals, or does he actually want to mentor him? It's a question I constantly asked throughout this season and one I still struggled to fully answer as episode 10's end credits rolled. Nonetheless, it's a mentor-mentee relationship that I'm excited to see more of in YFNSM's already confirmed second and third seasons.

Creative deviations like this help to differentiate YFNSM from other Spider-Man animated shows. Before my fellow webheads start frothing at the mouth, though, I'm happy to report that it doesn't neglect the core essence of what makes Peter Parker such a relatable character.

Indeed, the hallmarks of what makes a great Spider-Man story are not only here, but gratifyingly placed front and center of YFNSM's core narrative and various subplots. This universe's Peter is as wracked by self-doubt, guilt, and internal pressure as other iterations of the character have been, so Spider-Man devotees can rest easy that YFNSM retains the heart and soul of what makes its eponymous hero one of Marvel's most popular and enduring individuals.

There's an abundance of teen-based melodrama where the series' supporting cast is concerned, too. Like X-Men 97, there's a real soap opera vibe to YFNSM, whose storylines play out across multiple episodes. It also tackles as many hard-hitting topics as its animated sibling and, surprisingly, even takes a page out of X-Men 97's playbook with the thematically dark places it occasionally goes to. Episode 7 is a particularly sinister chapter that suggests YFNSM isn't as family-friendly as it initially looks.

That said, YFNSM doesn't lose sight of being fun. Sure, some of its humor comes across as corny, but that's in keeping with Spidey's eye-rolling and/or smile-raising quips, and Peter's socially awkward demeanor, from the comics. Thames has a great time bringing both aspects to life, too; YFNSM's star imbues his take on Peter and his superpowered alter-ego with a charm and likeability that's not unlike Holland's.

If there's one area of plot-based improvement the Disney Plus show needs to make moving forward, it's exploring the various character dynamics in more detail. Season 1 spends too much time bouncing Peter off of a few too many characters, which doesn't leave room to examine his closest relationships. Indeed, it sacrifices its exploration of these dynamics to give equal billing to a Lonnie Lincoln (Eugene Byrd) led narrative. While it was important to season 1's overarching plot, it could've been trimmed down to accommodate, say, the gratifying odd-couple friendship between Peter and Nico Minoru (Grace Song).

Animation angst

But now to address the elephant in the room: YFNSM's animation style. Responding to fierce fan criticism about its 3D cel-shaded approach, showrunner Jeff Trammell exclusively told me "I love our look – I think it grows on you" but, having watched the entire first season, that's something I can't fully agree with.

Before I get into that, I do want to say its delightfully retro art style, which is heavily inspired by legendary Marvel illustrators Steve Ditko and John Romita Jr, looks fantastic. It really makes certain scenes pop with its bright color palette, ink pen-based shadow gradient, clever use of comic paneling, and the iconic 'Kirby krackle' to evoke the feeling of a "moving comic book", as Trammell has previously claimed. The addition of comic book-style covers that make each episode feel like the next edition of a comic series, plus an ever-evolving intro sequence, are equally wonderful.

Try as I might, though I couldn't get over YFNSM's jarring animation. There's a sluggishness and clunkiness to character movements, such as lip-syncing the dialog to their mouths, that makes it feel like keyframes are missing or weren't factored into the animation process. A perfect example of how ungainly it can be is during a gang-based fight sequence in episode 5. Characters throw punches or duck and dive in such janky fashion that it distracts from what should be an entertaining and high-stakes set piece.

There are times when the animation feels fluid, especially in later episodes when more polish has been applied, but such instances are few and far between. The sad reality is that YFNSM just isn't visually appealing from an animation standpoint. Sony's Spider-Verse movies, including the series' most recent entry Spider-Man: Across the Spider-Verse (one of the best Spider-Man movies, in my view), did an immeasurably better job of creating a "moving comic book" animation style with real panache and verve.

It's not the only issue I had with YFNSM's aesthetic. By design or not, a higher-than-expected number of scenes and sequences feel devoid of life. Whether that's down to static background characters or, in the worst cases, empty backdrops, YFNSM regularly feels uninhabited. Considering it's set in the bustling metropolis that is New York, there's no excuse for its depiction as a periodically abandoned cityscape.

As much as I praised the use of comic book page paneling to help tell the story, it's used less and less as season 1 progresses. Early episodes indicate it'll be a key creative component of the series but, bizarrely, YFNSM adopts an increasingly frugal approach to what could've been one of the show's artistic lynchpins.

My verdict

Your Friendly Neighborhood Spider-Man is a fun-filled, bold, and occasionally menacing reimagining that honors the superhero's 60-years-and-counting legacy. It riffs on classic and more recent moments from all corners of the superhero's multimedia library in a largely satisfying manner. However, I suspect some Spider-Man purists will be irked by what they consider unnecessary creative deviations from his source material.

If YFNSM's animation style wasn't such an eyesore, I would've rated it more highly than I did and, despite my other minor quibbles, strongly argued its case for a spot on our best Disney Plus shows list. I'd still recommend it as a pretty amazing series but, given the problems I've outlined, it's not as spectacular as it could've been.

Your Friendly Neighborhood Spider-Man's first two episodes are out today (January 29). Episodes 3 to 5 arrive on February 5, episodes 6 to 8 air on February 12, and episodes 9 and 10 launch on February 19.

Every generation has what they'd consider to be the definitive Spider-Man animated series. From the 60s original and 90s-era Spider-Man to more recent fare like 2008-09's The Spectacular Spider-Man and the ongoing series Spidey and his Amazing Friends, few superheroes have starred in as many animated projects as Marvel's iconic web-slinger.

Your Friendly Neighborhood Spider-Man (YFNSM) is the latest contender for the wallcrawler's best TV show crown. As a big Spidey fan, the first of six Marvel Cinematic Universe (MCU) TV shows that'll arrive on Disney Plus in 2025 was always going to interest me, regardless of how good or bad it was. Marvel Studios' first animated Spider-Man offering, though, is far better than I expected it to be. It's not as spectacular as last year's universally adored X-Men 97 – and there's one major reason why, which I've dedicated an entire portion of this review to. Nevertheless, it's a largely pleasing reimagining of the legendary superhero's origin story, vast cast of supporting characters, and unmistakable corner of the Marvel universe that most Spider-Man fans will enjoy.

With great power...

Story-wise, you know the drill by now: nerdy high-schooler Peter Parker gets bitten by a radioactive spider, develops superpowers, and vows to protect New York City from criminals (superhuman or otherwise) while dealing with the trials and tribulations of being a teen.

YFNSM, though, puts a somewhat unique spin on Spider-Man's creation. This iteration of Peter Parker (Hudson Thames) gets bitten by an irradiated arachnid that appears to hail from another dimension. Indeed, it arrives in this universe – i.e. one of the MCU's many parallel timelines – via a sling ring portal made by Doctor Strange as he battles a Shathra-inspired symbiote (just two of an immeasurable amount of Marvel cameos and references in this show, FYI). The 'spider from another reality' plot device isn't dissimilar to Miles Morales' superhero origins in Sony's Spider-Verse movies. YFNSM doesn't copy that film series' take on Spider-Man's inception but, spoilers notwithstanding, we don't learn about the spider's origins until the season finale. Even then, it's a semi-original plot twist that some viewers might work out ahead of time.

YFNSM's setting is vital for the other changes woven into its fabric. It was originally designed as a story that was canon in the MCU, and there are many signs that confirm this. Whether it's the subtle shades of Tom Holland's MCU-based web-slinger in Thames' take on Peter and his superhero alias, or sections of episode 9's climatic fight that mirror the final, fraught set-piece in 2021's Spider-Man: No Way Home, YFNSM was clearly intended to be a Spider-Man: Homecoming prequel show.

For reasons outlined by Marvel's Head of TV and Streaming Brad Winderbaum, though, the decision to reshape it into an MCU-adjacent project means it's not beholden to the journey that Holland's Spidey has gone on so far. And, honestly, it's all the better for it. Unshackled by the MCU's often weighty history, YFNSM has the creative and narrative freedom to simultaneously pay homage to the silver age of Spider-Man comics, and reinvent the stories and characters that defined his early crimefighting years.

Take the remodeled dynamic between Peter and one of his most iconic villains Norman Osborn (the excellent Colman Domingo), for example.

Just as Robert Downey Jr's Tony Stark/Iron Man was to Holland's wallcrawler in the MCU, YFNSM positions Osborn as a role model for Peter to look up to and develop a compelling surrogate father relationship with. Heck, Peter and Norman's initial meeting is a near-perfect recreation of Holland's Peter's MCU introduction in Captain America: Civil War, which is another indicator that YFNSM was originally designed as an MCU TV show.

But back to Peter and Norman. Their dynamic not only becomes a central component of season 1's primary plot but also keeps you guessing about the seemingly duplicitous Osborn's true intentions. Is he using Peter to achieve his own goals, or does he actually want to mentor him? It's a question I constantly asked throughout this season and one I still struggled to fully answer as episode 10's end credits rolled. Nonetheless, it's a mentor-mentee relationship that I'm excited to see more of in YFNSM's already confirmed second and third seasons.

Creative deviations like this help to differentiate YFNSM from other Spider-Man animated shows. Before my fellow webheads start frothing at the mouth, though, I'm happy to report that it doesn't neglect the core essence of what makes Peter Parker such a relatable character.

Indeed, the hallmarks of what makes a great Spider-Man story are not only here, but gratifyingly placed front and center of YFNSM's core narrative and various subplots. This universe's Peter is as wracked by self-doubt, guilt, and internal pressure as other iterations of the character have been, so Spider-Man devotees can rest easy that YFNSM retains the heart and soul of what makes its eponymous hero one of Marvel's most popular and enduring individuals.

There's an abundance of teen-based melodrama where the series' supporting cast is concerned, too. Like X-Men 97, there's a real soap opera vibe to YFNSM, whose storylines play out across multiple episodes. It also tackles as many hard-hitting topics as its animated sibling and, surprisingly, even takes a page out of X-Men 97's playbook with the thematically dark places it occasionally goes to. Episode 7 is a particularly sinister chapter that suggests YFNSM isn't as family-friendly as it initially looks.

That said, YFNSM doesn't lose sight of being fun. Sure, some of its humor comes across as corny, but that's in keeping with Spidey's eye-rolling and/or smile-raising quips, and Peter's socially awkward demeanor, from the comics. Thames has a great time bringing both aspects to life, too; YFNSM's star imbues his take on Peter and his superpowered alter-ego with a charm and likeability that's not unlike Holland's.

If there's one area of plot-based improvement the Disney Plus show needs to make moving forward, it's exploring the various character dynamics in more detail. Season 1 spends too much time bouncing Peter off of a few too many characters, which doesn't leave room to examine his closest relationships. Indeed, it sacrifices its exploration of these dynamics to give equal billing to a Lonnie Lincoln (Eugene Byrd) led narrative. While it was important to season 1's overarching plot, it could've been trimmed down to accommodate, say, the gratifying odd-couple friendship between Peter and Nico Minoru (Grace Song).

Animation angst

But now to address the elephant in the room: YFNSM's animation style. Responding to fierce fan criticism about its 3D cel-shaded approach, showrunner Jeff Trammell exclusively told me "I love our look – I think it grows on you" but, having watched the entire first season, that's something I can't fully agree with.

Before I get into that, I do want to say its delightfully retro art style, which is heavily inspired by legendary Marvel illustrators Steve Ditko and John Romita Jr, looks fantastic. It really makes certain scenes pop with its bright color palette, ink pen-based shadow gradient, clever use of comic paneling, and the iconic 'Kirby krackle' to evoke the feeling of a "moving comic book", as Trammell has previously claimed. The addition of comic book-style covers that make each episode feel like the next edition of a comic series, plus an ever-evolving intro sequence, are equally wonderful.

Try as I might, though I couldn't get over YFNSM's jarring animation. There's a sluggishness and clunkiness to character movements, such as lip-syncing the dialog to their mouths, that makes it feel like keyframes are missing or weren't factored into the animation process. A perfect example of how ungainly it can be is during a gang-based fight sequence in episode 5. Characters throw punches or duck and dive in such janky fashion that it distracts from what should be an entertaining and high-stakes set piece.

There are times when the animation feels fluid, especially in later episodes when more polish has been applied, but such instances are few and far between. The sad reality is that YFNSM just isn't visually appealing from an animation standpoint. Sony's Spider-Verse movies, including the series' most recent entry Spider-Man: Across the Spider-Verse (one of the best Spider-Man movies, in my view), did an immeasurably better job of creating a "moving comic book" animation style with real panache and verve.

It's not the only issue I had with YFNSM's aesthetic. By design or not, a higher-than-expected number of scenes and sequences feel devoid of life. Whether that's down to static background characters or, in the worst cases, empty backdrops, YFNSM regularly feels uninhabited. Considering it's set in the bustling metropolis that is New York, there's no excuse for its depiction as a periodically abandoned cityscape.

As much as I praised the use of comic book page paneling to help tell the story, it's used less and less as season 1 progresses. Early episodes indicate it'll be a key creative component of the series but, bizarrely, YFNSM adopts an increasingly frugal approach to what could've been one of the show's artistic lynchpins.

My verdict

Your Friendly Neighborhood Spider-Man is a fun-filled, bold, and occasionally menacing reimagining that honors the superhero's 60-years-and-counting legacy. It riffs on classic and more recent moments from all corners of the superhero's multimedia library in a largely satisfying manner. However, I suspect some Spider-Man purists will be irked by what they consider unnecessary creative deviations from his source material.

If YFNSM's animation style wasn't such an eyesore, I would've rated it more highly than I did and, despite my other minor quibbles, strongly argued its case for a spot on our best Disney Plus shows list. I'd still recommend it as a pretty amazing series but, given the problems I've outlined, it's not as spectacular as it could've been.

Your Friendly Neighborhood Spider-Man's first two episodes are out today (January 29). Episodes 3 to 5 arrive on February 5, episodes 6 to 8 air on February 12, and episodes 9 and 10 launch on February 19.