Don’t mention the m-word: are mutant X-Men about to show up en masse in Spider-Man: Brand New Day?

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An intriguing chat about warped DNA in the record-breaking trailer for the new Spider-Man movie could mean a host of long-awaited arrivals in the MCU There was a time when the mere mention of the term “mutant” in the Marvel Cinematic Universe was frowned upon. Rival studio 20th Century Fox owned the rights to the X-Men and with it the whole idea of a parallel branch of humanity, which meant superheroes were contractually obliged to have received their powers from somewhere else. Radioactive accidents, experimental serums, infinity stones, the bite of an unusually committed arachnid: Marvel tried them all, but left the mutation thing alone. Occasionally, comic book icons such as Scarlet Witch were retconned in the MCU to remove their X-gene origins, but for the most part, the very notion of mutation seemed to be placed under narrative quarantine – as if this were a door the studio had quietly agreed not to open. This week saw the record-breaking release of the debut teaser trailer fo...
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‘I’m not a saint’: Abel Ferrara on his wild career, rehab and nightclubbing with Donald Trump

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The last time our writer interviewed him, the drugged up director dozed off then asked for coke. Now sober, he reflects on #MeToo, Italian fascism and his fight for the final cut

The last time I met Abel Ferrara, he dozed off in the middle of our interview then woke up and asked me to score him some coke. It was 1996, and he was in the UK promoting his gangster drama The Funeral – which the actor Vincent Gallo alleged Ferrara had been too blitzed on crack to direct properly – and his vampire horror The Addiction. He was on a roll, his reputation fortified by King of New York, starring Christopher Walken as a flamboyant crime boss, and the gruelling Bad Lieutenant, with Harvey Keitel as a bent junkie cop. Ferrara was the scuzzball Scorsese: no matter how celebrated he became, he never shed the patina of grime from his early days as the star and director of porn film The Nine Lives of a Wet Pussy and the infamous “video nasty” The Driller Killer.

“You were the guy I fell asleep with?” he gasps now from his bright, high-ceilinged living room in Rome. He is calling via Zoom, his laptop resting on a shelf so he can pace around as he speaks, drinking from a bottle of San Pellegrino that he clutches by the neck. “You’re the guy? I’m sorry, man! Really, really.” Then he switches tack. “You let me down! You were 24, living in London, and you didn’t know where to score?” He shakes his head in disbelief. “All right. So where could we get some now?” A sandpapery cackle fills the air as he rocks on his heels. His hunched posture and jutting jaw make him the spit of the cartoon dog Muttley. He laughs like him, too.

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