Spider-Man: No Way Home features a post-credits moment where Eddie Brock, portrayed by Tom Hardy, briefly steps into the Marvel Cinematic Universe. One of the film’s screenwriters, Chris McKenna, explained that Brock had a few additional scenes originally—the kind of scenes that would have expanded his role—but they ultimately didn’t make the final cut, leaving a tighter, more interpretive moment for audiences. This kind of behind‑the‑scenes adjustment is common in blockbuster filmmaking, where balance between character arcs, pacing, and cross‑universe storytelling must be carefully managed. In the end, Brock’s MCU debut happens in a way that teases potential future crossovers without fully committing to a longer arc in this film.
Specifically, there were considerations about Brock appearing at iconic New York locations such as the Statue of Liberty or the Lincoln Tunnel. There wasn’t a single, fixed plan for Brock’s exact landing spot within the movie; the creative team weighed possibilities for where his first interaction with Peter Parker and the multiverse‑hopping villains could occur. The dialogue of what might have unfolded on screen was part of a broader conversation about how to integrate Brock into this particular chapter of the Spider‑Man saga, while preserving the film’s focus on Parker’s struggles and the consequences of the world learning Spider‑Man’s identity. In the end, the narrative chose a different emphasis, but the door remained conceptually open for future appearances or callbacks.
So Eddie Brock enters the MCU, but never leaves the bar. We had versions in which he appears earlier. We wanted to add him to the final battle of the Statue of Liberty. We even played with him who got stuck in the Lincoln Tunnel.
— Chris McKenna
Beyond the film’s on‑screen decisions, a separate creative thread carried through the visual universe connected to Spider-Man. A Russian artist, Evgeny Zubkov, contributed art that reimagined the Spider‑Man story with a distinctive twist. In this reinterpretation, a Siberian setting and aesthetic were introduced, offering fans a fresh cultural lens through which to view Parker’s adventures. The collaboration between cinema and fan‑driven or independent artworks often fuels ongoing conversations about how Spider-Man can be presented to different audiences and geographies, including Canadian and American viewers who frequently engage with both official releases and independent creative takes.
The digital premiere of Spider-Man: No Way Home took place on March 15, marking a milestone in the way audiences first experienced the film across streaming and digital platforms. In tandem with the film’s release, Evgeny Zubkov issued a second installment of his Spider‑Man artwork, continuing a thread of fan art that explores Parker’s adventures in new settings, such as Siberia. This period of artwork and digital premieres often expands the conversation beyond the screen, inviting viewers to imagine how the character would navigate different climates, cultures, and streets while retaining the core themes of responsibility, identity, and connection that define Spider‑Man.
In the broader canon, the interplay between on‑screen moments and artful reinterpretations helps keep Spider‑Man’s story dynamic for audiences in North America and beyond. The film’s creators acknowledged that Brock’s appearance could have been integrated in slightly different ways, while independent artists continued to push the imagination with fresh takes, ensuring that the Spider‑Man narrative remains a living, evolving conversation that resonates across communities and languages.
Source: VG Times