The last entry was about the argument that Peter Parker's private life isn't that important, because the book's appeal is what he does as Spider-Man. A related suggestion is that because the book has such a great supporting cast, the writers should just focus on them. The secondary figures should be given interesting personal problems to get readers hooked. This leaves the superhero stuff for the title character, who can have greater stability in his private life.
Writers have to be careful to remember that the Spider‑Man series is not a true ensemble: there is one chief protagonist who drives the story. While it’s great to see a well written supporting cast, fleshing them out is not as high on the writer’s priorities as making Peter Parker’s private life compelling, writing Spider-Man’s superhero scenes well and inventing nasty things for the villains to do.
For his first few years on Amazing Spider‑Man, J Michael Straczynski pretty much dropped Peter’s traditional supporting cast, a move for which he has been criticized. His explanation (from an interview with former Spider‑Man editor Jim Salicrup in Write Now Magazine #5) was simple.
I felt that Peter/ Spidey had gotten lost in his own book, drowned by the supporting characters. It’s been my experience in TV that this tends to happen when writers don’t quite know what to do with the main character anymore, so they try to find and create characters where they do find interest. The book is The Amazing Spider‑Man, not The Amazing Spider‑Man’s Pals. So I felt it was vital to pare away the majority of that and launch a re‑exploration of who the character is, with and without the mask.
During the marriage, Mary Jane served so many roles she makes other auxiliary characters redundant (Lover. Room-mate. Best friend. Conscience. Sounding Board. Critic.) That could be a big reason JMS was able to have an acclaimed run on Spider-Man, despite the absence of the majority of the supporting cast. With Mary Jane around, there's less incentive to develop anyone else.