Why "Another Believer" by Rufus Wainwright is a near perfect encapsulation of the thematic elements present in "Spider-Man: Across the Spider-Verse" (a lyrical analysis)
"Hello, I got something to tell you
But it's crazy, I got something to show you
So give me just one more chance, one more glance
And I will make of you another believer"
There is a need to express, and to be understood almost immediately- and in the case of Miles and Gwen, this could not be more relevant. They themselves are aware of how unique and undefinable their experiences are- but despite that, they won't stop holding onto the knowledge that there are people out there that have the ability to understand them, even if they don't know how to reach them at the start of the film.
This knowledge is the exact thing that causes Gwen to cling to the Spider society so much after the loss of stability and direction in her life. It's what makes Miles so determined to move forward and succeed as both a superhero, and as himself.
"Guess what? You got more than you bargained
Ain't it crazy? You got more than you paid for
So give me just one more chance, one more glance
One more hand to hold"
The responsibilities of the spider society, and of Miguel's dictatorial position in Gwen's life shows to not be a good thing for her. She still lacks direction and stability, in addition to a whole new set of expectations imposed on her by external forces in exchange for the sense of deeper understanding that she needs- now, more than ever.
For Miles, he's still new at this whole superhero thing. The first movie in this soon-to-be trilogy was all about him stepping into his own identity, while this film is, arguably, about defining what that means for him. In the face of reuniting with Gwen, he is vicariously exposed to what it means for her to be a spider-person in the greater scheme of the spider-verse. She has restrictions; she isn't allowed to see him; she has all these new opportunities; and most importantly, he doesn't fit into all that. The bond that they share is still there. They still love and care for each-other despite all that- but that's exactly why it can't work. Gwen is now aware of the dangers imposed by their relationship more than ever- being exposed to the concept of "canon-events" and "anomalies"- and knows that she cares too much about Miles to open up like that. It's too much for her to handle at times, so she "protects" him from realizing that. But that doesn't really change anything. Those two still care about each other- and Miles, in particular, feels the need to let Gwen know that despite everything, they still get to have that bond. The greater-scheme of things doesn't change what they have right here, right now, and that they still have that deep connection.
"Guess what? You got more than you bargained
Ain't it crazy? You got more than you paid for
So give me just one more chance, one more glance
One more hand to hold"
The responsibilities of the spider society, and of Miguel's dictatorial position in Gwen's life shows to not be a good thing. She still lacks the direction and stability she needs, in addition to a whole new set of expectations imposed on her by external forces in exchange for the sense of deeper understanding that she craves- now, more than ever.
For Miles, he's still new at this whole superhero thing. The first movie in this soon-to-be trilogy was all about him stepping into his own identity, while this film is, arguably, about defining what that means for him. In the face of reuniting with Gwen, he is vicariously exposed to what it means for her to be a spider-person in the greater scheme of the spider-verse. She has restrictions; she isn't allowed to see him; she has all these new opportunities; and most importantly, he doesn't fit into all that. The bond that they share is still there, and they still love and care for each-other despite all that- but that's exactly why it can't work. Gwen is now aware of the dangers imposed by their relationship- being exposed to the concept of "canon-events" and "anomalies"- and knows that she cares too much about Miles to open up like that. The weight of destiny is too much for her to handle at times, so she opts to "protect" Miles from that realization (at several points in the film). But that doesn't really change anything. These two still care about each other- and Miles, in particular, feels the need to let Gwen know that despite everything, they still get to have that bond. The greater-scheme of things doesn't change what they have right here, right now, and that they still have that deep connection.
"You've been on my mind (you've been on my mind)
Though it may seem I'm fooling
Wasting so much time (wasting so much time)
Though it may seem I'm fooling
What are we gonna do? (What are we gonna do?)
What are we gonna do about it?"
Miles has always looked up to those who have left an impact on his journey to becoming who he is. Uncle Aaron, his father, Peter B, Gwen, etc... He doesn't get himself wrapped up in the guilt for the tragedy that has befallen him in certain situations, but still looks to them in order to build from it. Gwen, on the other hand, finds herself haunted by the past and trying to fix her past mistakes. A blindly longed for redemption, if you will. Those experiences, coupled by her new restrictive work (as well as unresolved personal issues), leaves her unable to deal with the possibility of pursuing greater ambitions; such as her friendship with Miles, confronting her father, or even questioning where she fits into everything. She remains lost, and fools herself into following Miguel's rhetoric in the desperate search for support in her life.
Miles, however, does not suffer from this issue- in part because of his upbringing. He wasn't meant to be Spider-Man. He wasn't written with the typical origin story, or canon events from the get-go. He was born to two loving parents, in an amazing household, with a bright opportunistic future that allowed him to define who he is and what he wants when he decided to wear the mask. He wasn't burdened or influenced by the circumstances of his situation, which makes him fortunate enough to be able to decide his fate.
When Gwen decides to take off without him, planning on never seeing him again for reasons beyond her, Miles makes a choice. What does he want to do about this? What does he want? And, however impulsive and naive, Miles still wants to be able to connect with others. Gwen, and the society, are the gateway for that.
"So then, that is all for the moment
Until next time, until then, do not worry
And give me just one more chance, one more glance
And I will make of you, yeah, I'm gonna make of you another believer"
By the mid-point of the story Miles had been eagerly looking towards the society with wide-eyed wonder. It's bizarre, it's strange, and it's wonderful. This belief, I feel, was only reinforced by the battle with The Spot in Mumbattan. He was able to prove himself as a capable figure, saving the day once again, and gaining the respect of Pavitr (and company) for his actions. When he's invited to HQ it's seen as a sign of promotion, almost. As proof that he can handle himself, and that he is recognized as such by those who have the capability to understand what it's like to be in his shoes. But the minute Miles in confronted by Miguel, that all goes out the window. He is openly disregarded, discredited, and told off by someone who is in a "superior" position than him. Because Miles has been exposed to the predicted canon-event of his future, he is able to visualize exactly what this all means. The rhetoric states that his father will die, and that Miles has to let it happen, but that is exactly everything that Miles doesn't stand for- only for him to be told "you don't get to make that decision".
Miles openly defies and acts out against the society as soon as he's able to, willing to let go of his desire to connect when it is revealed that his closest allies would've intentionally let his fathers death happen. They even tried to talk him into acceptance, essentially cornering him in a moment where he needed their support. Now, it's him against the multiverse, and all he wants is to prove that he is not defined by whatever the trauma-induced conclusion of a fascistic leader states he is. And the opportunity to pursue that very thing was only made possibly by the assistance of those who saw him, considered him, and decided to do something about what was happening, but it still leaves the door of possibilities wide open.
"You've been on my mind (you've been on my mind)
Though it may seem I'm fooling
Wasting so much time (wasting so much time)
Though it may seem I'm fooling
What are we gonna do? (What are we gonna do?)
What are we gonna do about it?"
Gwen is both inspired by Miles, and driven to act after seeing how he took a leap of faith for something that he loved. This level of love has been present in her all this time, but she was too lost to come to terms with it. This, and her forced expulsion from the society, were her biggest pushes in completing her arc. She is forced to reconcile with her father- the man that loves her so much that he quit his position in favor of her- and they are forced to understand each other.
The last time these two had seen one another, he was pointing a gun at her, but now, just the simple fact that they love each other is enough for them to try and find resolve. They want to repair this dissonance, and they are only able to because of how deep their bond is. The sense that, no matter what, they will always love each other, and that's what's important to them. So much so, that her father comes to support her endeavors as Spider-Woman despite the years of rivalry.
Miles is still driven at this point by his love for his family, and his father. He very much so holds his parents words about how much they love him, and care about him near and dear to his heart. It is their unwavering devotion to wanting the best for their son- and in particular his mother's last words to him- that gave him the strength to not tolerate the society's treatment of him in the first place. He had the strength to be open to admitting his secret identity to who he thought was his mother, even- something so pivotal to who he sees himself as, as a person. Even when he's tied up and defenseless on a punching bag, he's still not going to give up when he has something to be fighting for.
If only his parents knew, though. They're still worried sick and clueless back in their dimension. Gwen turns up in the middle of the night, and to his parent's knowledge was the very last person that knew where he was, only to receive very no answers that only make them worry more. But Gwen made it a point to tell them that she will make sure he gets home- knowing just how important his parents are to him. And his parents, though reluctantly, put their trust in Gwen because of how much they want to see their son come home safe. I like to think that this was extra reassurance for Gwen that she is capable, and that she has the support of alot of people behind her. By this point in her arc, she is no longer lost or unsure of what to do. She just knows what needs to happen, and who she needs to be fighting for. And most importantly, she can fight for him.
The side characters in ATSV also serve as very important reinforcements of certain themes and ideas. Peter B, for example, is very uncertain of his moral position in relation to the society and to Miles. He felt inspired and driven by Miles just as a person- determined and optimistic- but finds himself weighed by a multitude of responsibilities. He has a family, a history with Miguel, a desire to help Miles, and a ton a baggage that the rhetoric of the society only supports. But what is he gonna do about it? What is he doing to change anything- especially when it's needed the most? Gwen merely gives him the opportunity to do something, and he doesn't second-guess where he is needed now. Who needs him, right now.
- Hobie is another case of relating to this narrative. He is the one who has seen through the society since day 1, only sticking around in order to watch out for those who needed him, and to work towards dismantling the system that only stood for everything he dedicates his entire life towards hating. He's a revolutionary, after-all. When Miles arrives to HQ, Hobie is already well aware of everything that it means, and what the others have in store. He isn't directly warning, preventing, or making Miles choose anything at the moment, but is nonetheless communicating his speculative nature. Without force, he asks Miles to think for himself in the face of being cornered, and offers avenues for Miles to make his own decisions. To define his own destiny, Hobie asks the question "what are we gonna do about it?". It's a principle that all revolutionaries live by, and Hobie acts as the catalyst for change in this movie. He supports it, he endorses it, and he is a figure who can act as both a voice and as a source of support. He is the one who asks those around him to question the very nature of their actions.
- The actions of other notable figures such as Margo cannot be understated, either, despite their small roles in the film. Margo gets very little development, but we see her silent realization, and decision to support Miles when it mattered most, without question, and without really understanding why. She can just see Miles as he is, and make a stand in solidarity with him. I suppose this was the mutual feeling of everyone who decided to team-up at the end of the film, to some extent at least. Everyone who sided with Miles in the end- maybe even Jess if some of you want to argue about it- had to have believed in his cause. The love her carries for his family; the ambitious nature of his to carry the weight of being a hero; the determination to define who he is; the reluctance to back down; and the sheer need to express and connect to those around him. It lives on in all of them, to some degree, otherwise they wouldn't be risking everything just for the chance that what he believes holds some truth to it. Maybe they can do both. They just have to take a chance on him. A leap of faith, if you will.
Feel free to build off of this
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