After a nearly half-century drought, live-action Spider-Man is swinging back onto television screens. But this isn’t the web-slinger audiences have seen before. Nicolas Cage is set to star as Spider-Man Noir in a new series debuting on MGM+ and Prime Video on May 27, 2026, marking the first time a live-action Spider-Man has appeared on TV since 1979.
The journey to this moment is a complex one, steeped in the history of Marvel adaptations and the evolving landscape of Hollywood rights deals. While Spider-Man first appeared in live-action in 1974 with brief vignettes on The Electric Company, and then in the 1977 series The Amazing Spider-Man, the character’s path to consistent representation on screen has been anything but straightforward.
The Amazing Spider-Man, despite strong ratings, was ultimately short-lived, running for only 13 episodes. CBS aired the show sporadically, often as counterprogramming, yet it consistently drew a large audience. The series, starring Nicholas Hammond, faced criticism for its low-budget effects and a reluctance to fully embrace the comic book source material, particularly the inclusion of iconic supervillains. Producers opted for a more grounded approach, pitting Spider-Man against gangsters and ninjas, a decision that, in retrospect, contributed to the show’s somewhat dated feel.
The success of The Amazing Spider-Man, however, paved the way for other live-action Marvel adaptations. Columbia Pictures, which acquired the rights to a Spider-Man film in the 1980s, began a long and winding road toward bringing the character to the big screen. But it was Sony Pictures who ultimately capitalized on Spider-Man’s cinematic potential, launching a blockbuster film franchise in 2002 with Tobey Maguire. This success cemented Spider-Man’s status as a major movie star and, made Sony fiercely protective of the character’s adaptation rights.
The relationship between Sony and Marvel Studios has been a complicated one, marked by legal battles and shifting agreements. A trove of leaked emails in 2014 revealed the intricacies of their deal, which included stipulations on which characters could be shared and which remained exclusively under Sony’s control. The arrangement allowed Marvel to utilize Spider-Man in the Marvel Cinematic Universe, but with significant financial and creative considerations. The deal was amended several times, reflecting the changing power dynamics between the two studios.
The arrival of Spider-Noir represents a unique turn in this ongoing saga. The character, originally introduced in the Marvel Comics multiverse in 2009, is a pulp-inspired reimagining of Spider-Man, set in the 1930s. His appearance in Spider-Man: Into the Spider-Verse further broadened his appeal, and now Nicolas Cage is bringing him to life in a live-action format. Notably, Cage’s role marks his first leading role in a television series.
The decision to pursue a Spider-Man television series, particularly one featuring a lesser-known iteration of the character, is a strategic one for Sony. After a series of underperforming spinoff films, the studio appears to be testing the waters with a more niche offering. The success of Spider-Noir could potentially open the door for further collaborations with Marvel Studios, expanding the Spider-Man universe beyond the big screen.
The path to Spider-Noir wasn’t without its hurdles. The COVID-19 pandemic and the 2023 Hollywood strikes delayed production, and other projects, such as Project Hail Mary, took precedence. Despite these challenges, Sony persevered, recognizing the potential of the character and the opportunity to end Spider-Man’s long absence from television.
The debut of Spider-Noir is more than just the return of a beloved superhero to the small screen; it’s a testament to the enduring appeal of Spider-Man and the complex web of relationships that govern his adaptation rights. Whether this series will pave the way for a broader expansion of the Spider-Man universe on television remains to be seen, but one thing is certain: after 47 years, Spider-Man is back on TV, and he’s looking decidedly noir.
