[SPOILER WARNING: If you haven’t seen Spider-Man: Far From Home yet, then you best stay far away from this article. There be spoilers here. Turn back now. I’m serious, this is your last chance. Still here? Okay… But you’ve been warned.]
The best moments in Spider-Man: Far From Home are arguably its post-credits scenes.
Marvel Studios has spent over a decade conditioning fans to stay for the end credits to watch a scene or two that serves as either a comedic button to get you leaving the theater with a smile on your face, or a scene that features a nod or hint to what the plot of a future movie may have in store.
Far From Home features two scenes – one mid-credits, the other at the tail end of them – and the former is one of the best in the entire Marvel Cinematic Universe. It promises to upend Peter Parker’s entire existence for the inevitable third film, while the final scene is, well, a sight to behold. Here’s our breakdown of what each scene does and means for the MCU.
Mid-Credits Scene: Spidey Is Marvel’s Public Enemy No. 1
After taking MJ (Zendaya) on a dizzying web swing through New York City, Spidey is about to take off and do his thing solo when a Times Square-like screen blares a breaking news story about Spider-Man and his climatic battle with Quentin Beck, AKA Mysterio (Jake Gyllenhaal). It also introduces an old friend from Spidey’s first big-screen franchise: J.K. Simmons returns as J. Jonah Jameson!
Jameson, who is now in charge of an InfoWars-y The Daily Bugle.net, reveals to a captivated New York City exclusive footage he received of Mysterio and Spidey’s fight on London’s Tower Bridge, which involved a drone army wreaking explosive havoc on the bridge and on the people below. Unbeknownst to Jameson, Mysterio doctored the footage, which falsely depicts Spider-Man maliciously authorizing the drone attack and killing Mysterio.
But the real bombshell is when Jameson exposes Spider-Man’s identity, flashing a picture of Peter Parker on the screen. As Peter watches, he lets out a “What the fu–?!” in a callback to Aunt May’s final words in Spider-Man: Homecoming before the scene ends.
This marks the first time Marvel has brought back an actor from pre-MCU movies to reprise a role. So does that mean Sam Raimi’s films exist in an alternate reality/dimension adjacent to those in the MCU? Can we see more Spider-Verse-esque crossover in the live-action films? Good questions. For now, Simmons’ return as Jameson seems to serve the same function as Judi Dench’s M appearing in Daniel Craig’s rebooted Bond movies after getting her start in Pierce Brosnan’s run.
As for Spider-Man being framed as a murderer with his secret identity known to the world, that creates several complications rife with drama that a third film could explore. (Nevermind how unlikely it is that the world would believe angry Jameson or Beck — whom NO ONE really knows or trusts — over Spidey’s heroic exploits that they’ve witnessed). MJ is seen also watching the footage, and the look on her face betrays a level of doubt about her new boyfriend’s innocence. (Again, MJ knows him better than most, so this reaction feels out of character. It seems unlikely a third movie will get much mileage out of MJ thinking Peter is truly capable of murder.)
Regardless, this scene marks a significant moment in this iteration of Spidey on the big screen. We can’t wait to see how it all plays out.
End-Credits Scene: Nick Fury In Disguise
Near the top of Far From Home‘s third act, Nick Fury (Samuel L. Jackson) and Maria Hill enter a scene mid-conversation, with Fury dropping to Hill something to the effect of “I thought the Kree sleeper cell thing was supposed to be a secret.”
This serves as an overt allusion to the eventual reveal that Fury and Hill are really Skrulls. Yup, that’s Captain Marvel‘s Talos (Ben Mendelsohn) as Fury and his partner, Soren (Sharon Blynn), impersonating Fury and Hill on Earth. (The exact rationale for this is unclear, but it seems to give Fury and Hill a vacation…? In space…? More on that in a bit.)
This reveal explains why “Fury” and “Hill” were duped by Beck, since they weren’t really super spies. The reveal happens as Talos and Soren are calling the ex-S.H.I.E.L.D. director with an update on their situation involving Mysterio and Spidey. Talos awkwardly hems and haws his way through a defense of the situation on Earth before Fury ends the call to enjoy his vacation. We then see Fury, in beach clothes, on an obvious blue screened-in beach (of what appears to be Tahiti, a locale Agents of S.H.I.E.L.D. fans know well), before the sunny locale is revealed to be a holographic presentation aboard a massive spaceship or space station full of Skrulls.
Fury seems to be here in charge of some sort of project involving the Skrulls, as he gets up and approaches some of the passing aliens and says “get back to work.”
This scene raises more questions logic-wise than it answers, and it leaves audiences scratching their heads more than one would presume the filmmakers intended.
Who knows if a future Marvel movie will pick up on this thread, or the idea of Kree sleeper cells. But why Fury is in space, and what he is doing there, and where the hell is Hill, are all questions we are very eager to have answered.