“Pretty early on, you start to get a feeling for if something is part of the main body of the film or if it makes more sense as a tag,” Watts told IndieWire during a recent interview. “It was similar with these, but after the tag we did on the last movie, which was just the Captain America PSA, I felt like I owed it to the fans to do something a little bit more substantial.”
Tom Holland is Peter Parker, in Columbia Pictures’ SPIDER-MAN:TM FAR FROM HOME.
Ahead, Watts breaks down both of the post-credits scenes in his film and what they mean for his friendly neighborhood Spider-Man (and, yes, the MCU as a whole) going forward.
[One more time: Spoilers ahead for both “Spider-Man: Far From Home” and its post-credits scenes.]
1. An Old Favorite Returns (And a Hero Is Unmasked)
One happy change for Peter: “Far From Home” finally sees him expressing his feelings for MJ (Zendaya), even if it takes some massive battles and a little bit of misdirection. Even better, MJ knows about his secret identity and is totally cool with it, which is why the first post-credits scene sees Peter picking MJ up in midtown Manhattan and going on a swing around the city.
Just as the pair prepare to part outside Madison Square Garden, giddy about their burgeoning relationship and basking in their big secret, a classic loudmouth breaks in to disrupt all that happy calm. And he’s a familiar loudmouth too: J.K. Simmons, reprising his role as J. Jonah Jameson, now styled as a fast-talking YouTube personality (yes, The Daily Bugle is now a streaming outfit). Seeing Simmons back in the role he so very much made his own in Sam Raimi’s earlier Spider-Man series is the best kind of shock, even if it temporarily obscures what he’s actually saying.
“There was always the chance that he would say no, but I always wanted that,” Watts said. “There was maybe a brief conversation about like, oh, is there a way to reinvent what The Daily Bugle is and who J. Jonah Jameson would be? But it just felt wrong. It’s gotta be him. Like, if it wasn’t him, it wasn’t worth doing.”
But both Jameson and The Daily Bugle have been reinvented for modern times — and a film that cleverly flirts with the influx of “fake news”