Process and commentary, as shared by the film’s animators.
Before hearing from folks who actually worked on it, here’s my two cents:
Miguel the toxic fanboy: driven to destroy anyone and everyone between him and what he “protects”. From hunting Miles and screaming at him that he, a person of colour, was never meant to be Spider-Man, to staring obsessively and furiously at his computer screens, and assuring his cultists that they are the “good guys”; who looks like the idealised brooding superhero, but is in actuality the menacing villain of someone else’s story… how isn’t his character a commentary on toxic fandom?
A fantastic film full of rich storytelling and attention to detail is likely to inspire myriad video essays and breakdowns. One which caught my eye is schnee‘s on Spider-Verse 2‘s Most Well Written Scene (Gwen & Dad) – and what this analysis may lack in polish, it more than makes up for in compelling observations about lean writing and tiny, but important, character moments:
“This is the ‘Han Shot First’ of the Spider-Verse” – schnee has also compiled a thread of alterations made to the film’s digital release version from its theatrical release version, yet another sad exhibit of streaming media’s erasure of our collective pop cultural memory and shared experience:
Karan Soni, who plays Pavitr Prabhakar aka Spider-Man: India, on the collaborative process behind his character’s development:
In this long but worthwhile discussion, Jessie Gender and friends trace myriad signifiers of minority and counter-cultural archetypes within the film’s text, key to Unraveling The Spider-Verse‘s Queerness:
And one more from schnee, all about the scene-stealing Hobie (Daniel Kaluuya), which reads his grassroots anti-facism through the lens of the writing of George B. N. Ayittey, notes the surprisingly layered, thematically detailed way in which his character is crafted, and demonstrates how these details reveal themselves only upon rewatch: