Become a backer of Daniel or Jack to get exclusive access to a new bonus episode in which we chat about 2008's Iron Man, foundation of the biggest media franchise in history and politically dense text in its own right. Becoming a patron also brings access to all other bonus episodes. Daniel's Patreon: https://www.patreon.com/danielharper/posts Jack's Patreon: https://www.patreon.com/user?u=4196618&fan_landing=true Content Warnings. Please consider donating to help us make the show and stay independent. Patrons get exclusive access to one full extra episode a month. IDSG Twitter: https://twitter.com/idsgpod Daniel's Twitter: @danieleharper Jack's Twitter: @_Jack_Graham_ IDSG on Apple Podcasts: https://podcasts.apple.com/us/podcast/i-dont-speak-german/id1449848509?ls=1
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But to me, Spidey is just like this.
That's the essence of Spidey.
He's just like this doofy, wise-ass teenager with a homemade suit who protects his neighborhood.
I like that.
And a lot of people don't like that about the Marvel thing, but it's kind of, they got the rights to Spidey, put him in the MCU, and he kind of has to be integrated that way, doesn't he?
Well, and I think I think the truth is not to interrupt here, but I think the real key here is that they got the rights to him late.
And so he got sort of like shoehorned into civil war at a certain point.
And so, like, if they had gotten the rights and also they're sharing the rights with Sony.
And so there's like a kind of complicated intellectual property thing.
Capitalism, capitalism, capitalism, bad.
Everybody knows.
Anyway, you can own the concept of a kid with the initials PP with web shooters who saves people.
Apparently that's the thing you get to do.
Anyway, that's not in any way completely fucking insane.
Never mind.
Anyway, and you can own him despite the fact that he was created like 50 something years ago.
Anyway, anyway, we don't, we, you know, Capitalism Bad, everybody knows.
Everybody listening to this knows.
We feel this way.
Anyway, but like... That's part of the conversation that we can skip over with our audience.
They're already there.
Yeah, maybe, maybe the mainstream audience, when we're not talking to our patrons directly.
We don't have to explain that, but you know, not here.
Capitalism Bad?
What do you mean?
What are you talking about?
It provides jobs.
Do you know if we actually spent time explaining that?
Steven Pinker says that we've got better now than ever before.
What do you mean?
If we were to slow down and handhold people on these issues, Our podcast would be 10 times as popular.
That's the reality of it.
Let's go straight for the niche.
I'm just imagining how boring it would be to prep IDSG episodes in which I get through 10% of the amount of material That even now I'm kind of like, no, we're like, I'm, I feel like I'm handholding now, you know, and like to, like, do it that way.
Like, I would, you know, again, if some big podcast producing company wants to hire me to do that, Jack and I will do that.
Believe me.
Like, yes, please pay me.
But, you know.
Jack will shit can me immediately.
Anyway, so getting back to Spider-Man, which is not even our main topic of conversation here, because, you know, whatever, but he was shoehorned in because they got the rights late and suddenly he gets just kind of written into Captain America Civil War.
And he doesn't, like, the movie is terrible, not because, like, the movie is, I mean, the movie's kind of, There's some interesting stuff in that movie, right?
But then they shoehorn in Spider-Man and then create this, like, airport fight scene or whatever.
And, like, it just kind of totally distracts from, like, the real thing that's kind of going on in that movie.
And everything interesting just got stripped out at some stage, whether that was before or after.
I don't know.
But, like, there's a very real story that could be happening in Captain America Civil War.
And instead, it's like, well, now we have to introduce Spider-Man.
You know, when, like, if they had gotten the rights and then said, okay, we're gonna wait two years and write Spider-Man Homecoming as kind of the introduction, like, you don't have to kind of stick Tony Stark in as the, like, and I'm going to introduce you to the 17-year-old kid Spider-Man or whatever, you know, like, there would be kind of a better way to do that.
And I feel like there's a, A real kind of lesson in, like, the way these movies get made in that story, right?
And that the narrative of the, I mean, the narrative of the narrative, the narrative of the story kind of gets subhorned into, like, well, these movies just get produced on an assembly line, which wasn't necessarily the case in 2008, because this was very much an experiment they were doing.
And if Iron Man had just failed utterly at the box office, none of this would ever have happened.
No, no.
So it's worth.
Yeah, before we move on, there was something else I was going to say.
Oh, yeah.
Like the other test cases, of course, the DC Cinematic Universe, isn't it?
Where they very much try to do the same thing.
And And really, I mean, do it very badly, frankly, even more like, as you say, like Spider-Man turns up in Civil War, he might as well just say, yeah, I'm here at last, guys.
They got the rights.
You know, it really is a case of that dictating what happens in the story.
You know, the story is dictated from behind the scenes by stuff like that.
