When we first meet him, he's a Spider-Man on auto-pilot, shrugging his way through crimefighting because that's what he's always done, while his personal life is in shambles. Parker also re-learns the lessons of great power and great responsibility that he had to internalize all those years ago.
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In teaching Miles how to use his powers and how to truly become Spider-Man, Peter B. He's not the only one who learns that lesson, though. Into the Spider-Verse is largely Miles' story, and it's the story of how he learns to believe in himself as a hero, and how learning he's not alone motivates him to become a better person and a better Spider-Man. Make no mistake that, regardless of who the villain is in the sequel, this version of Kingpin will be sitting in jail, watching the new Spidey's exploits on the news and waiting for the day when he'll be able to wring his neck.
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Comics and TV fans know that Kingpin can't be stopped by prison bars, and it's easy to imagine this version of the character sitting in his cell and stewing over how another Spider-Man could have risen up so quickly even after he'd killed the old one. The latter pursuit might be lost to him, but if Kingpin needs something to fight for now, he has it in the form of his freedom and vengeance against a new Spider-Man. We know two things about this universe's Kingpin for sure: He has considerable resources, and he is absolutely relentless in his pursuit of getting what he wants, which in this case is a reunion with his late wife and son. In the end, Miles carries on the long tradition of refusing to kill his nemesis, and instead turns Kingpin (Liev Schreiber) over to the authorities even after the supervillain killed both his universe's Peter Parker and his uncle Aaron, a.k.a. It's in his blood, and that's what makes him a unique version of Spider-Man. In the future there's a good chance we will see a merging of both, as Miles furthers his art and his crimefighting in a kind of joint community service. As Spider-Man, he's doing this in more secretive ways, but as Miles he's leaving it in tribute to his late uncle. In the final moments of the film, we see that he's continued his street art tradition both as Miles and as Spider-Man, making his mark on New York in a way no other Spider-Man has. This is in part because of the lessons he's learned along the way, but also because of Miles' own passion for creativity and street art. We see this in a thrilling sequence in which, with the help of Aunt May (who definitely won't be going away even though her universe's Peter is gone), he creates his own Spider-suit and heads out into the world with his own unique look and outlook on battling evil. He has to take the leap of faith and become Spider-Man, and to do that he has to invent his own idea of what Spider-Man is to him. Miles Morales learns throughout the film that he can't just be Spider-Man in some kind of magic, automatic way.
Yes, it signals that the experience of the film has opened Gwen up to new experiences and relationship, but it also signals that barriers between dimensions are perhaps quite a bit flimsier than they used to be thanks to Kingpin's particle accelerator meddling. The film doesn't take the time at the end to explain why or how this is happening, but it's the most obvious setup for a reunion of the Spider-gang in the inevitable sequel.
Yes, even across universes, Gwen and Miles can talk to each other.
The film tells us this by not just having Gwen look back fondly on her time in Miles' universe, but by also revealing that she's found a way to keep the lines of communication open between them. That, of course, changes over the course of the film, and by the end she's definitely interested in a friendship - and perhaps more - with Miles Morales. In her universe, her closest friendship was with Peter Parker, and it got him killed, so she doesn't want to get close to anyone ever again. From the moment she's revealed as a Spider-hero in the film, Gwen Stacy (Hailee Steinfeld) makes it clear that she's not interested in making friends.
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