I'd add the following topics:
-- ''Should Spider-Man Ever Leave High School? If not, how can Spider-Man work at different ages or if there's a certain point Spider-Man should stop aging?"
-- ''What should Spider-Man's role be in the wider-Marvel verse, stay in-his-own-corner, sidekick to the Avengers, or recognized and treated as a major superhero?"
-- "Should Aunt May live or die? How can Spider-Man work as a complete orphan and adult without family?"
-- "Now that Spider-Verse is a lasting sub-franchise, does it even make sense anymore for 616 to be considered the default universe?"
Among your list, I think the "Should Peter Parker be married to mary jane?" is a debate that's been happening and shows no signs of stopping since 1987. So it's redundant to list it because there's basically a huge volume of commentary, comments, responses, false arguments and so on, already put out.
Ditko's makes more sense as a three-dimensional character, and Peter is more believably flawed, and social dynamics are more realistic.
Jon Watts isn't fit to shine Raimi's shoes as a film-maker, and the Raimi movie is always going to have the most iconic versions of Peter and his supporting cast -- Uncle Ben, Aunt May, Mary Jane, Harry Osborn, J. Jonah Jameson, and Spider-Man's greatest enemies done right -- Norman Osborn/Green Goblin, and Dr. Octopus.
Roger Stern's more versatile (
indeed he's the most versatile writer to ever write for Marvel) -- he can do comedy, drama, action, tragedy, mystery. JMD writes really in the intense psychologically realistic, dark character-centric pieces. But at the same time, nothing Stern did is as great as
Kraven's Last Hunt. I always felt that Stern worked best in the low-key small scale register, stuff like ''The Kid Who Collected Spider-Man" and "The Daydreamers" (which Stern considers, and I agree, to be his greatest story). And of course there's the undeniable fact that the story that Stern expected should be his masterpiece -- The Hobgoblin Saga -- has been fatally undermined and compromised, with a lot of that blame being on Stern's hand.
As long as Carnage stays evil, yeah, Venom can be an anti-hero. At this point that's the most successful version of him. Both in the movie and in Cates' run.
Not a single story with Ock as a hero remotely capable of shining the shoes, touching the hem, licking the spittoon of the stories where he's the villain -- The Master Planner Saga, the Sinister Six, The Death of George Stacy, The Owl/Octopus War. There's nobody to replace him unlike Carnage who replaced Venom when he turned anti-hero. Making Ock a hero creates a hole in the rogues gallery, and the founder of the Sinister Six absolutely has to return to the version that Lee and Ditko and others after him intended him to be and remain in.