PETER PARKER: SPIDER-MAN™

Female, adult

Vanessa is intelligent, composed and observant. She doesn’t scare easily and doesn’t feel the need to fill every silence. There’s a quiet confidence to her that should come through even when she’s under pressure.

We’re looking for someone who can say a lot without having to say much.

DEZ
Male, 20s. Nervous, impulsive and constantly questioning himself. More talkative than Tony and easily overwhelmed when things go wrong. Strong comedic timing preferred.

Male, late 30s–40s

Tony is a rough, impatient criminal who likes to think he’s in control. He’s intimidating when he needs to be, but his temper and questionable decision making tend to get him into trouble.

Male, adult

Wilson Fisk is a powerful New York businessman and public figure who presents himself as a man dedicated to making the city better. He’s polished, articulate and knows exactly what to say when the cameras are on him.

But behind closed doors, Fisk is something else entirely. He’s a crime lord who has spent years building connections throughout New York. He doesn’t need to yell, threaten or show off. When Fisk speaks, people listen because they understand what his words mean.

The performance should always feel controlled. Even when he’s angry, keep the voice steady. His calm is what makes him intimidating.

Female, early 30s. Sharp, tired, confident and completely unimpressed by Spider-Man’s jokes. She has history with the Fisk world and isn’t afraid to challenge Peter. Her scenes should have that dry, grounded crime-drama feeling.

May is warm, practical and has a sense of humor about almost everything. She’s trying to keep a household together while making sure Peter doesn’t grow up too fast. She knows when to joke with him and when to give him that look that says she already knows he’s lying.

She doesn’t need to play every moment like a dramatic scene. Keep her grounded and natural.

Flash walks around like he’s already the coolest guy in the room. Half the time, he probably believes it. He’s loud, confident, competitive and knows exactly how to get under Peter’s skin. He likes girls, attention and winning, preferably all three at once.

But Flash isn’t some perfect bully. He’s a teenager with an ego, a temper and something to prove. His relationship with Peter is complicated. Some days they can’t stand each other. Other days they’re almost friends.

Kong is the guy who can turn a five minute conversation into a twenty minute story and somehow make you listen to the whole thing. He’s loud, animated and has absolutely no sense of when a joke has run its course.

People assume he’s stupid because he’s always screwing around. Kong knows they think that. He doesn’t exactly rush to correct them.

He’s actually pretty perceptive. He knows who’s pissed, who’s lying and when a situation is about to go bad. He just has a strange way of dealing with it.

He’s loyal, easy to like and occasionally capable of surprising everybody when he decides to stop messing around.

Male, teenage

Randy is the guy who somehow stays calm while everybody else is losing their minds. He’s relaxed, observant and smarter than he lets on. He notices things. He just doesn’t feel the need to announce it.

He’s usually somewhere between Flash and everyone who’s getting tired of Flash. Randy doesn’t judge people much. He just watches, laughs and lets them figure themselves out.

Female, teenage

Sally is the girl who somehow knows what’s happening before everybody else. She’s popular, confident, fashionable and socially sharp. Cheerleader, parties, gossip, boys, school drama… she knows the whole ecosystem.

She can also be mean. Really mean.

Sally knows how to embarrass someone without raising her voice, and sometimes she enjoys having that power. But writing her off as a stereotypical mean girl misses the point. She’s perceptive, ambitious and surprisingly loyal to the people she actually cares about. She respects people who stand their ground, and she has a softer side she doesn’t exactly advertise.

She can talk about a party one minute and something genuinely serious the next without feeling like two different characters.

George Stacy has been a cop long enough to know the city isn’t black and white. He’s seen good people make bad choices and bad people do the right thing once in a while. Still, he refuses to let that make him cynical.

He’s patient, professional and actually listens. When everyone else sees a masked vigilante, Stacy sees something more complicated.

Not much is known about Beetle.

She doesn’t introduce herself. She doesn’t explain what she wants. She appears, does what she came to do, and disappears before anyone can get a real read on her.

There’s something strangely calm about her. She doesn’t need to act intimidating. She doesn’t raise her voice or waste words. Even in the middle of a fight, she carries herself like she’s already decided how things are going to end.

Her voice should have presence. Cool, controlled and difficult to forget.

Male, 40s–50s

Hammerhead is a relic of New York’s old underworld, and he knows it. He came up as muscle for Silvermane before carving out his own territory in Hell’s Kitchen. He still dresses like a mobster from another era, still believes in loyalty, and still thinks a man’s reputation is worth more than his money.

He’s charming when he wants to be. He’ll shake your hand, remember your family and buy the table a round. But Hammerhead has a vicious temper, and once his pride gets involved, reason tends to leave the room.

He’s not some mindless brute. He’s a seasoned criminal who knows how to run people, money and territory. But when negotiations fail, Hammerhead falls back on what made him famous in the first place.

His fists.

Alistair Smythe is an engineer first and everything else second. Brilliant, arrogant and obsessively practical, he has built a career turning problems into machines.

Oscorp gives him the laboratory. Kingpin gives him the funding.

Surveillance systems, anti-crime technology, automated weapons, armored drones. Smythe doesn’t care who ultimately owns the technology as long as the contract is signed and the results are measurable.

He’s not particularly interested in being feared. He’d rather be respected, preferably by people who don’t realize they’re already depending on him.

To Smythe, morality is a variable. Human behavior is a system. And systems can be corrected.

Male, late 30s–early 40s

Matt Murdock has been Daredevil since the late 1980s. During the day, he’s a respected New York lawyer with effortless charm, sharp suits and a smooth way of talking his way through almost anything. He’s older, experienced and carries himself like someone who’s already seen it all.

But Fisk is starting to tear his life apart. His career, reputation and everything he’s built are suddenly at risk, leaving Matt more on edge than he’s used to being. He’s still calm and confident, but there’s pressure underneath it.

Matt becomes an unexpected mentor to Peter. He doesn’t treat him like a kid. He gives him advice, calls him out when he’s being reckless and understands the weight of wearing a mask better than most.

Mac Gargan is a former cartel enforcer who built a reputation as one of the most feared men in the game. Nobody knew much about him, and Mac secretly hated that. He always wanted to be known for something more than violence.

Fisk gives him that chance by turning him into Scorpion, New York’s newest celebrity superhero. Sponsors, cameras, interviews, kids loving him. Mac eats it all up.

He’s charismatic, eccentric, hilarious and great with kids, but underneath the showmanship is a violent, narcissistic and deeply unstable man. Mac doesn’t just want to be a hero.

Montana is Queens muscle who’s been climbing the ranks fast. He’s a capable, experienced criminal with a reputation for getting the job done without making a big production out of it. The Oscorp gauntlets only made him more dangerous, turning already serious muscle into a genuine threat during the coming gang war.

He’s surprisingly carefree for a man in his line of work. Montana doesn’t constantly talk about how tough he is. He doesn’t need to. He jokes, talks with that strange old-school New York cowboy twang and treats dangerous situations like another day at work.

He’s not reckless. He’s confident. When Montana says he’s gonna handle something, people generally let him handle it.