Instead, Tom Holland’s version of Peter Parker gets a new loss to add to the pile: his Aunt May (Marisa Tomei), killed by the Green Goblin (Willem Dafoe). Like the radioactive spider that bit him to give him his powers, it’s an element of the story we’ve already seen repeatedly and don’t need to revisit. One of the smaller things that sets the MCU version of Peter apart is that we never see any of these initial losses. Then, midway through, No Way Home becomes extremely invested in Peter Parker and what he’s lost. At first, it appears to be an exciting but fan-servicey slugfest that doesn’t front-load the emotional heft that Spider-Man stories are known for. The film appears to be an excuse for a multiversal mashup, one that pits the current Marvel Cinematic Universe version of Spider-Man against villains from the previous Spider-Man movies. The latest story spun from this web, Spider-Man: No Way Home, doesn’t initially seem concerned with any of that history. Mentors like Norman Osborn and Otto Octavius in Sam Raimi’s films teachers like Curt Connors in The Amazing Spider-Man potential role models turned sour by some force or another, like Adrian Toomes in Spider-Man: Homecoming or Mysterio in Spider-Man: Far From Home. The further loss of his Uncle Ben makes Peter acutely long for a father figure, so much so that the most famous members of his rogues’ gallery are all failed surrogate fathers. No matter who’s telling the Spider-Man story, it’s so defined by the loss of Uncle Ben - the original sin Peter never gets over - that it’s easy to breeze past the loss Peter can’t blame himself for: that of his parents, who are already missing long before the story usually starts. More than anything, Peter Parker wants a dad.
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