I'm Alex Schul. I'm Sharon Schul. And welcome to... School of Movies. [GASPS] Ooh. Deadpool and Wolverine. I told you, you're not welcome here. You're not welcome anywhere. Now get the fuck out of my bar. Just give me one more drink and then I'll leave. I peanut. I'm gonna need you to come with me right now. Look, lady, I'm not interested. All right, well, I'm sort of on the tic-tac so... Oh, whiskey-dick of the claws. It's quite common in Wolverine's over 40. You don't want this. Unless you want to take a deep breath through your fucking forehead, I suggest you reconsider. I'm about to lose everything that I've ever cared about. Not my fucking problem. Is that what you said when your world went to shit? [MUSIC] Come again. This Wolverine let down his entire world. [MUSIC] Want to talk about what's haunting you? Or should we wait for a third act flashback? Uh, go fuck yourself. [MUSIC] ♪ Life is a mystery ♪ I don't know anything about saving worlds, but you do. Trust me kid, I'm no hero. You were an X-man. ♪ Feels like ♪ You were the X-man. ♪ Oh ♪ I am soaking that right now. [MUSIC] Boys are so silly. This is what I'm talking about. [MUSIC] Big slow motion action sequence. [MUSIC] Who knows if you live or die? [MUSIC] Let's fucking go. Let's fucking go. [MUSIC] Yeah! [MUSIC] Want to do some cocaine? Hey, cocaine is the one thing that Feige said is off limits. What about Bolivian marching power? They know all the slang terms, they have a list. Even snowboarding? Even disco dust. White girl interrupted? Even forest bump. Do you want to build a snowman? Yes! [MUSIC] This is one of the biggest films of 2024, a much-needed victory for the MCU after the dismal general audience receptions, whether we personally like them or not, to the Marvel's Quantumania, Eternals, She-Hulk, Ms. Marvel, and Secret Invasion. And the irony is that far from feeling like this is the same studio that brought us Iron Man, Captain America, Black Panther, and Thor, everything about this, the canonically 34th film in MCU Chronology, everything about it feels like the final Swan song for the Fox X-Men series. To many of us, that ended seven years ago, with the close of Logan in 2017. God damn, it's been a while. Even before Deadpool 2 a year later, but Fox persisted intent on getting the Phoenix saga wrong a second time, and giving it to Simon Kinberg, who fucked it up the first time, as the Scumbag Brian Singer, who kicked off this mediocre saga in 2000, made a swift exit. Then there was the dull whimper of the constant executive medal fest that was the New Mutants, which parted out during lockdown, and is still somehow better than Apocalypse and Dark Phoenix and The Last Stand, but even though conversely, the official canon states that the universe described across that saga, ended in Logan footage of which exists in the New Mutants. The thing that's at stake here, are the people that Wade loves in the small scale, and everybody in the Morabund Fox X-Men universe. See, I was all geared up to leave that place behind, and jump into 616. That's movies and TV, not the 616 that has been running for 60 years throughout thousands of Marvel Comics, since that first issue of Fantastic Four in 1961, 63 years then. For the uninitiated, the two very different universes of printed page and blockbuster digital filmmaking and TV, share the exact same numerical designation, you know, just like Golden Protocol Droid C3PO, and Red Lightsaber wielding Dark Lord of the Sith C3PO in Star Wars. They both have the same name, if nothing else to prevent confusion. Now I thought this was goodbye to that horribly muddled and contradictory timeline, and hello to the other muddled and contradictory timeline, that once earned $2.7 billion in a single movie, but I was dead wrong. 616 literally rejects Wade, and sends him hurtling back home, in an effort to save the branch that he just leapt off, finally teaming up with the man whose handsome, antipodie and spirit has been haunting DP since his first conversation with us, back in 2016 in the original movie. Oh, hello, I know, right? Who's balls did I have to fondle to get my very own movie? I can't tell you, but it does rhyme with polverine. And let me tell you, he's got a nice, pair of smooth criminals going on down. And whose heroic death most definitely informed upon Wade's decisions in the second movie. I'm all out of love, what am I without you? I can't be too late to say that I was so wrong. Fuck, Wolverine. First, he rides my coattails with the army. Then the hairy motherfucker ups the ante by dying. What a dick! Well, guess what, Wolverine? I'm dying in this one, too. What we get is a magical mystery tour of the scattered remnants of the ex-universe, rather bluntly dumped into the trash heap, discovered by Loki but here, sharing space with a giant 20th century fox sign left half buried and decaying, beside the once-proud wreckage of the Titanic. It's a breakup movie, it's a buddy movie, it is planes, trains and automobiles, it is midnight run and the odd couple and Shanghai noon, it is who framed Roger Rabbit with disappointed extras. It's Deadpool doing what he does best, but also what he does worst, and it has come under fire from many critics for trading in the previously played straight superhero movies of old for a smug, knowing series of meta-winks that happen so fast the movie may as well make an off-color joke about itself having a seizure. It's an occasionally uncomfortable mix of tones with delights clattering up against growners, but just like Deadpool 2, the more I have watched it and thought about it, the warmer my feelings have become. If there was going to be a madcap, blazing-settles finale to the fox universe, where the two leads all but stop short of buying tickets to see the film that we've all been watching, I'm actually glad it was this one. It may well teach the makers of the upcoming Secret Wars, a thing or two about why a conveyor belt of sly references and moments that make the audience go, "Ah!" to varying degrees, commensurate with their nerdiness, can most definitely sell tickets, but there are pitfalls to beware of, and the secret strength that will keep people returning to your film for reasons beyond laughter is characters who mirror how much of a shit their actors give. Here to discuss this mixed bag of steak knives and whoopie cushions are a pair of longtime good friends of School of Movies, Chris Fenwick. They're going to make them do this until he's fucking 90. Until you're dying day! And Jessie Ferguson. Where's the intimacy coordinator? She's right here. Hello, Jessie. Okay, Jessie, while I'm here as our resident expert on time travel in both temporal physics sense and in emotional narrative symbolism, as it applies to time travel stories, are you able to explain how cabled time travel works in Deadpool 2, how Wade got into X-Men Origins Wolverine using that same texture, how he got to Earth 616 to interview with Happy Hogan for the Avengers, then how he got back crucially, how it ties in with Tony Stark's mode of interdimensional time travel in Endgame, the TVR's version of time travel, Kang's version of time travel, Kitty Pride's temporal, mental displacement in Days of Future Past. Can you do that, Jessie? If I say no, am I fired? Yes, immediately! You have to go and talk about it with foggy. Yeah, I don't understand. Like, weirdly, like this one kind of almost makes the most sense because it's just, oh, you can flip between dimensions and through time. It's a TARDIS, basically, on your watch. But yeah, it contradicts most everything else that is going on. Although, I guess the sort of the TVA you can sort of, as is just kind of a monitoring thing. So it's not necessarily even part of the time travel shenanigans. So regardless of how the time travel happens, the TVA would kind of still work. But it's mechanically like they don't really explain the reasoning for it. But there are seven different time travel ways of happening in this multiverse. And you just got a role with it, I suppose. As if there's more than one way to skin a cat, there's more than one way to time travel, apparently. Right, but the fact that there's also like a meta-textual parody kind of like throws a wrench into it too. Yeah, and how does it work, doesn't matter how it works. Because are we even being serious when we're doing it? Anchor beings is actually existentially terrifying. I mean, not just within the context of this film, where there are people who are clearly meeting their end at the smoky teeth of that beast in the garbage dump. But also just the idea that, okay, so Wolverine dies, and then our universe gets erased. What does that mean for every other movie that has ever existed? Tony Stark would have been the anchor being for the MCU, right? How do we know he wasn't? It's arguable that he was. Yeah, we won't know until later with this franchise. The thing about anchor beings is that they are an object of the meta. Like they are a narrative device more than a mechanical device, and they are the metaphor. Like an anchor being is the metaphor for the franchise's favorite. They are the character that the series can't live without. They are Wolverine was the anchor being of the Fox X-Men universe, because none of the movies that didn't have him in him did well. One could argue after seeing it this summer, that Caesar was the anchor being of the new Planet of the Apes films, and his absence is felt in the still pretty good kingdom of the Planet of the Apes. Exactly, but it's very much felt it's like Brian in the Fast and Furious movies. He didn't die, but his actor did, so they have to pretend he's not around. And the movies have sucked ever since they made their Tiffle goodbye. No, it is simply worse for it, exactly. Like none of them have hit those same heaks as Seven did. To Sharon's point, Tony Stark could very well end up being the franchise favorite, the anchor being for the MCU. They mentioned that it often takes a long time to figure out, and that kind of feels like what we've seen with Phase is it five now, Phase four? We're still five. Okay, yeah, so like Phase Five of the MCU has been like, basically everything after Endgame has been sort of a crapshoot, and some of them have been good, some of them have been not good, but none of them have been particularly successful. So we'll have to see if the universe can recover without Tony. There is also the fact that from a psychological perspective, we are all anchor beings until we're about one and a half, two years old, and we start to realize that there are other people in the world, and the world will not disappear if we do. And also it's disproved by the end. Oh no, hang on, because Wolverine's in that universe. Okay, it's not disproved. It would have to be very vague. People are like, "Oh, what are the impacts this is going to have on the future?" I'm like, "This is going to have impacts?" I like part of me is like, how do we know paradox wasn't just lying? Or an idiot. Yeah, we have actually no evidence that this is a real thing. I have hated the fact that the TVR exist from low key season one episode one, when they were like, "Look, they've got infinity stones, there's paper whites." And it's like, "No, you just broke it. You just broke everything. You assholes." Time travel in this, and I would say interdimensional travel as well, is like dark matter, in that we can't know the mechanics of how it works. We can only guess the shape of it from the impact that we witness. Somebody just on a side note, since we're going to move on to grave robbing in a bit, somebody pointed out quite rightly that the beginning when you watch Wade carve up really gruesomely, the TVR, the stormtrooper guys. They're like, "Oh, come on. We've got to know a few of them. They're all human. They're just doing their job. This feels really bad." But then if you watch it a second time, you're like, "Oh, hang on. This scene actually takes place because considerably far further into this movie." And Wade has worked out that this is the organization that are going to eliminate everyone in the timeline if they succeed. So while it's very, very jokey, he has every fucking reason to murder every single one of them to prevent himself being dragged back to this fatal situation. - Yeah. - F atle on a cosmic scale, like the M-Cran Crystal has cracked. It's very much an ACAP situation where these TVA agents, even if they might be good folks, they might be good people, they might be just trying to do their job, but every single one-- - Maybe they're just following orders. They are at the very least complicit in the destruction of universes and are not doing anything to stop it then. - Which, by the way, is more the reason I fucking hate the TVA. They're performing atrocities on a scale we cannot even fathom. And it's all kind of fun and 50s kooky. - We are encouraged to blame paradox for this particular one. - Oh, he's the bad actor. - Yeah. But ultimately the whole organization, it all goes. He might have chosen to do away with this one against the sort of overall guidance. - Yeah, when the good TVA lady from the original TV show comes in and goes, "Oh, this is this one, do it all." - But the destruction of other universes has clearly happened, and the eaters of other universes have clearly existed, otherwise he wouldn't be able to come up with this. - Again and again and again and again and again, because they were trying to preserve the sacred time of the historical timeline. - Mm-hmm. - So, did you watch season two of Loki? - Yes. - Okay. Because I don't know if maybe this takes place in between those two, I don't think so-- - The fact that it's vague and you don't know is a problem. - Well, the thing is that at the end of season two of Loki, they're not pruning anymore. - Mm-hmm. - And you can see the big-- the--there is really no sacred timeline. It's just the fragments and everything. It really--what this feels like to me is-- Paradox is a secessionist, essentially. Like, he doesn't like the way that the TVA is going. - I'm gonna drain the swamp of the TVA. - Right. - Exactly. - I'm not gonna be like your standard TVA guy. - He directly says he wants things to go back to the way they were. - He wants to go back to the good old days. - Exactly. - It's about as on the nose as things like the wreckage of the Titanic. And actually, I believe they were going to meet a predator. At least there was that shot of pre-production. Hey, look, they meet a predator. Maybe it was deleted. Maybe it was like, no, actually, Pray worked really, really well. That is a series that is most definitely being given a shot in the arm. What joke are you even making here? - It is no longer moribund. - That would have just been a, hey, remember, we own this franchise, too. - Yeah, we saw Alien Romulus. It's doing pretty good right now, those two. - I enjoyed the hell out of it. We would have dipped into Space Jam, the new Legacy, if we started pulling in every Fox thing. - Yeah. - It's just the Marvel stuff. - Let's not put droogs in there next to various characters in this. - Mm-hmm. - Okay, so just to back up to the whole anchor beings thing. I think it would actually serve us to consider that to be just some bollocks that parallax, what's his name? - Paradox. - Paradox. Not to be confused. With the bad guy in the Green Lantern movie, which has now never been made because Ryan Reynolds shot himself. God. So yeah, paradox are fittingly. We're starting to talk about anchor beings. And there is however one metaphor, which is that in really recent days, just before this film came out or about the same time, I'm not sure the exact chronology I can't remember. Marvel, who had been flailing for years since Tony Stark checked out, got RDJ back to play Doom. Now a lot of people have been like, this is just going to be like a one-off stunt casting, like a little thing. And I don't think so at all. This is probably going to date immediately, but I think that RDJ said I am never coming back as Tony Stark. Never, ever, ever. You have not got me as Tony Stark. What have you been doing recently that's actually been fulfilling, Robert? Well, I was in fucking Oppenheim. I look at all that. Okay, that's pretty good. Do you kind of want crowds to be like cheering your name while you stand up there at the front looking like a king? It would be nice. Yeah. Well, how about a different role? Keep talking. I could be wrong. I could of course be wrong, but it's a really, it's a meta textual commentary on the fact that without RDJ seemingly, which is really bad because he's going to die. Yeah. And he's not going to hand over his digital rights. And I hope he fucking doesn't because this all comes from his spirit, his eyes. I'm not even sure how Doom is going to work without the ability to see RDJ's amazing acting eyes. You also be able to see his eyes probably. We can always see his eyes through the mask. Maybe they'll only glow for certain scenes. Yeah. Yeah. No, no, no, no more than three movies. Yeah, RDJ is Frances McDormand and almost famous. So, yeah. I mean, they have really anchored potentially phases six, seven, blah, blah, blah. I generally wonder if they're going to Darth Vader, and it's just going to be RDJ's voice. Me never, because I mean, Doom never takes off his mask. Yeah. In the Jack Kirby style, you always do get to see Dr. Doom's eyes and know that there's a man underneath there, but I'm not sure how well that would work on screen. It's true. Like, that cowl that Wolverine puts on in this, it's pretty shonky at times. And a lot of people are like, "It looks so good!" I'm like, "Hey, I mean, that's fine." It was fine. It's fine that him doing it proves the effect works better with a full face mask. Exactly. Deadpool, it looks great. It works great every time they do it with Spider-Man. But when you can see his real jaw, you have to ask why his eyes are white. And if you could see through it, there's been at least one Toy Biz action figure where you could straight up see Wolverine's eyes behind the mask, and it's like, "This looks wrong. This looks straight up even practical." Anyway, grave robbery! [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] One of the first questions asked during the opening marketing gambit, so to speak, put a pin in that mon share, was how are we going to be faithful to Logan, and make it that this won't undo the end of Logan? And I think the initial pitch was, "Well, Logan takes place in the future. What if you took Logan out of an earlier place in the timeline, he could go on this romp and then return to his timeline like an infinity star?" Potentially with no memory of said events, and then they very quietly changed that completely and made him one of many, many variant Walgreens, which, to a degree, even just seeing Deadpool sacrilegiously using Logan as a weapon, the thing he wanted Laura not to be, it's oddly affirming of the fact that... [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] The challenge is to make it more engaging and somehow more purposeful than this series of mistakes, if that makes sense. She would have actually made a really good villain going forward because her motivation at the end really I think works with the whole multiverse saga because it's like essentially the ultimate expression of nihilism. Like if you have all this evidence that nothing matters, like nothing you do matters. So the one thing you could do that matters is to destroy everything. This actually came to me hard when I was writing on civil outlaw and I actually had to illustrate to my leading characters who have the ability to go back and forth through worlds and timelines that they are on one of many timelines, something they've been suspecting for a while, but could just very easily threw them both into an existential crisis. Abigail literally asks the person doing the explaining, if all of this is taking place only in one of almost infinite universes, why does anything matter? And the conclusion that nihilists come to is it doesn't, but the conclusion that the person trying to mentor Abigail has been living by is to everyone who lives on that earth, it means everything. It means the world and I like the fact that Wade tied, in the small scale we have the people he loves, but in the grand cosmic scale, of course it matters to everyone who's there, everyone who can suffer. Wade understands that like immediately, like nobody even really has to explain it to them, just one of the TVA saying they're going to destroy his universe, like oh no. It's like a bunch of hamsters sitting in a pet shop going, if there are other pet shops out there with other hamsters, what does any of what we're doing matter? If I go running on this wheel, it's not going to affect those other places and other hamsters will run on their wheels and I may as well not, and it's like just dial it back, draw yourself back in and think about living with and for other people. Not necessarily in constant service, but it's an incredibly selfish, childish reaction. Spend that time annoying everybody else by telling them that nothing matters, so that you're less lonely on this little miserable hill you've erected for yourself. Why bother saving the multiverse? Because you're one of the idiots who lives in it. Exactly. That's how they got Rocket Raccoon to care about anything. Yep, I'll come back to, I forget, at Noswalt's first wife's name, but it's K. I timed. Just over a year ago, I became a widower and I'm moving along as best I can. It is, you know, I can get up and I can do my job, I can be a dad, but there's no sense to it. It doesn't have, and that was my, you know, my wife was a true crime writer and researcher and her, the phrase she hated the most was, you know, everything happens for a reason. She's like, "No, it fucking doesn't. It's chaos. It's all random and it's horrifying. And if you want to try to reduce the horror and reduce the chaos, be kind. That's all you can do. It's chaos, be kind. You just say that it's chaos, be kind. Now, I would always, we'd have these huge philosophical arguments where I was like, I don't believe in a, in a intelligent creator per se, but I think that there might be a lattice work of logic and meaning to the universe that maybe we're too small to see. And she's like, "Sweetie, it's all random. It's all chaos. It's chaos. Be kind. It's chaos. Be kind." And then we would go back and forth and then she won the argument in the shittiest way possible. And if there is some intelligence up there with a plan, then his or her or its plan sucks. If part of the plan was looking at me and Michelle as a couple and go, "Well, I gotta take one of them now. Let me see." She investigates cold cases and tries to bring a sense of relief and sense to bereaved families. And he talks about his dick and foreign it drunks. Now, who should I take off the planet right now? That's like looking down and seeing like Louis Pasteur and the guy who fluffs the donkey at the Tijuana Fuck Show. And you're like, "Well, those donkey dicks aren't going to get hard on their own. I had to ask them." Someone's going to invent pasteurization and I'm going, "Oh." Michelle. Yeah, Michelle. I just realized... She'll make the power. There we go. Yeah, when she said, "It's chaos. Be kind." It's, you know, nothing matters. So all that matters is how you treat people and what you do. Or if you want to do some further reading, "Nature versus Camus." Back to Cassandra Nova for just a second, I just realized that if they were to bring her back, it would make it a really easy, not necessarily easy, but a convenient way for them to use Cassandra Nova as like a, you know, one of those crisis points, like one of the, like, we're going to do our reboot situation where, like, let's say she tries again and almost succeeds and manages to destroy all of the other timelines except one. And now we get our sort of clean restart. If it's not a full reboot, it's at least a, like, we're not dealing with the multiverse anymore because now we're back to one timeline, one universe. And this is the only one that we can see. Or another possibility. And this is going to date very quickly as soon as casting rumors actually start flying. If I will marvel right now, having watched the reception to that movie, if I were Kevin Feige, I'd be like, "Shall not exave you, anyone?" Because how do you do bad and Patrick Stewart by casting yet another dude as Charles Xavier? You get... Or James McAvoy, frankly. Exactly. You get Emma Corrin to be Charles Xavier moving forwards. They absolutely have the acting chops to play that version. Absolutely. So what the hell did Logan do in his, like, bad Logan, the worst Logan? Unless you know who weapon Omega is. He's, like, gleefully shitty. He's like a horrendous Nazi, the successor to Apocalypse. And I would say, well, that's not Logan. He wouldn't be like that. But the entirety of the Age of Apocalypse was about defying our expectations on character. Victor Creed is in the Wolverine role in that book. Cyclops and havoc are lackeys for Apocalypse. Hank McCoy is a mad scientist with a particularly nasty streak. So I can't say Logan could never be like that. What I could say, though, is Logan in the Age of Apocalypse that I read in 1995, Weapon X. Wouldn't be like that. We should cover the Age of Apocalypse. It's massive, but it fascinates me to this day and has been hugely influential on New Century. Someone commissioned that. I need the motivation. It's another one of those tasks too mammoth to do unless I have someone's expectations behind it. It's not even the money, although the money definitely helps. Crafting shows specifically for backers is a special kind of challenge for me. Because I won't just take any commission for any money and I have definitely turned down aggressive commissions. Now, I choose the ones that feel like they would make for the best episodes. It's throwing down the gauntlet, or in the case of Weapon X, the sort of metal arms stump thing. But back to the purportedly worst Wolverine who's definitely not the worst. It sounds like, in his world, he went storming off the way Mr Furious does in parody of Logan in Mystery Man. But while he was away, the most powerful mutants on the planet were jumped suddenly on home turf like they were in X2. And everyone was killed. Everyone. Every single goddamn mutant was killed by humans. And then Wolverine went on a killing spree, tracked down those humans, killed them all, but then started killing more. And then did exactly what Hawkeye did. Question mark. Right. I think that the dividing split in terms of what he did is actually very close to Logan. I think how he ended up with Charles in Logan is on that same branch, this thing where they all got killed happened. It sounds like a fixed event, which is very depressing. But one of the Wolverines went away, didn't come back, didn't go on the killing spree. But then was eventually given a chance to redeem himself by saving Charles, which got him to the point of being able to save Laura. This Wolverine did not. So either Charles accidentally, through having a seizure, kills all the X men himself and leaves only Logan behind. Or he doesn't, but humans come in and do what humans do, which is to destroy the thing that they hate and fear. I also think that Logan might be lying slightly, and I think he might have actually been there and abandoned them. Because there's moments where in his own head where he hears the screen language, does it make sense if he was not there? But it also doesn't make sense if you know who Logan is at heart. He's a mutant who literally can't die. They destroyed everyone that they could destroy. The only way they actually managed to kill Logan in those first 13 movies was his power just gave out. Just time took him down. Yeah, I think the important piece, whether he was there and gave up or was incapacitated because he was drunk, like it's possible that he went out to the bar and was coming home as the massacre was happening. So he could see it, but he couldn't do anything about it as quick as he was drunk. I think the part, the reason that he got labeled the worst Wolverine and the reason that everyone in that universe hated him specifically was because of the fact that the killings afterwards very pointedly he turned the world against mutants. So presumably after that, I would assume that everyone would no longer be having the argument as to whether mutants were dangerous or not. Or whether they could be lived alongside. This one guy killed so many people publicly that's it fucking kill mutants. Which again ties in with the line of Logan, which is we can't kill mutants. How about we prevent mutants? Again, just the subtle quiet. In this case, capitalism killed mutants. That's, I mean, Richard E. Grant is also way up there in terms of villains because he's so earnest, but he only gets a couple of scenes. So he doesn't really get to, well, for a start he doesn't get to ruin a villain in the fox way, which is a good thing. The fact that we didn't see why Logan's miserable and depressed, as in that Logan knew Logan. We'll call him Logan Alpha, shall we, if the prime version was Logan Omega. Not to be confused with weapon Omega, the evil Wolverine. Are we even going to count X24, the clone of Wolverine who managed to actually kill him? So Alpha Logan, had we actually had a beginning sequence where, or maybe after Deadpool does his stuff, or I don't know, it's really difficult for me to work out where the best place for this to be is. Because most of the movie is just going to make you laugh and if they bring you down by showing it. But at the same time, if they actually were able to carve out, so to speak, what actually happened rather than thinly veiled references. And that's the other thing. If he was the butcher of Blavicom, the way that people talk about the Witcher, the average person looks at Henry Cavill in a kind of a whole shit as opposed to, yeah, that old Rummy. I mean, they do that to Geralt in the Witcher too. They say, yeah, that old Rummy about the butcher of Blavicom. About the butcher of Blavicom, yes. He gets, it's very similar. He's an incredibly dangerous man that just gets put down upon. Okay, I haven't played final fantasy 15, but apparently everyone you meet is like, "Oh, fucking mutants, I hate them." And you're like, "Why am I trying to save these people again?" But yeah, I feel like if we've been able to see in a very straightforward way why Logan blames himself. And ultimately, it doesn't necessarily have to be that the whole world is against him. A simple, you know, I decided to leave, even though Charles begged me to stay, and then I was nowhere near the mansion when it happened. And when I finally got heard about what happened, it was on the news, so he felt as absent as you could possibly be. And since then, just drowned himself in liquor, and it not been one big, like, global thing that happened. It was simply that the X-Men did not exist anymore, and that the people that the X-Men were supposed to actually stop from wreaking incredible global havoc, like, say, apocalypse, or the Shiar Empire, they had no opposition in a world with no Avengers either. Or maybe it did have an Avengers because Alpha Logan says, "Fuck the Avengers." He may have come to blows with them. Yeah, they definitely left it a little too vague. Yeah, vague in a kind of sequel? Or, you know, we'll fill this in later, but like, they had the whole of Hawkeye to explain what the hell Clint have been doing, and they bloody didn't. So I just feel like when you say atrocity to Kevin Feige, he goes, "Phew, just, you know, if we could just, like, dial that back a bit, just imply atrocity." There is a problem with that, though, because they do that in order, it's like the horror thing of you can't see the monster. Because the second you show it, half your audience are going to go, "Well, that's not scary at all." Here's this vaguely defined atrocity that happened. The purpose of that is so that everybody can be, "Oh, that was so terrible." Once you say what it was, half of your audience are going to go, "Well, that's not that bad." Yeah. People can always imagine something worse. I suppose. People always like to deal with what the characters are actually going through, rather than trying to placate an entire general audience. But that's the thing. Stop trying to make the audience terrified of what happened. What the important part is, is that your character is blaming themselves. Whether this thing that they did was so terrible after all is irrelevant. The fact is that they are blaming themselves for it, and that is a very human thing to do. Most of these have things in our past that we've done, that we are shockingly ashamed of, that from a purely objective perspective, are probably not anywhere near as bad as we're stabbing ourselves in the leg form. This is how we do it. It's Friday night, and I feel all right. The party's here on the west side, so I reach for my 40, and I turn it up. Designate a job, I take the keys to my truck, hit the shop 'cause I'm faded. Honey's in the streets, say money, oh, we made it. It feels so good in my hood tonight. The summer turn skirts and my guys ain't gonna lie. All my gang bangers forgot 'em all the time. ♪ You gotta get your groove on ♪ ♪ Before you go, get paid ♪ ♪ So tip off your cusp and throw your hands up ♪ ♪ And let me hit a party, say ♪ Johnny Storm. When there were plenty of surprises in this where it feels like on my seventh occasion, it will feel very much geared towards showing an audience for the first time. You didn't think we'd do that, but we totally did. These are a couple of threads that I feel might drag the movie down, but they are quite fleeting when they actually happened in the moment. I enjoyed it a lot more the second time. The Johnny Storm bit is good. It's clear Chris Evans is enjoying playing against the Captain America tape a lot these days. No, I'm getting kind of tired of it, Chris. We know he was like this in Knives Out the Grey Man and this. For here though, it's of course, this is how we play Johnny Storm in the first place. Over a decade ago, very in character. I don't remember Johnny Storm ever using the C word, but yeah. It's got a lot of time in this world. It's a funny bit. It is amusing, however. This actually harkens back to an even funnier private joke between Sharon and I, because I mentioned this before. When I pointed out that Captain America had been cast, you said, "But he played Johnny Storm. People won't stand for it." It's like, "What mother are going to do? What mother are going to do?" I said, "They wouldn't accept him as another hero character, effectively in the same universe." And boy was I proved wrong. I did like that line. He was in 616, not 616. That's very true. What does he says when he sees him? He's the superhero equivalent of a comfort blanket? Yes, yes. The audiences will love this. He's a superhero equivalent of a comfort blanket. It's amusing, but it feels more like a bit, a stunt. There are times when this film verges on Saturday Night Live's skit, if that makes sense. You get Chris Evans on huge audience applause, and then he starts swearing, because he's not actually Steve Rogers, and that's also funny. And then we end the skit quickly, as opposed to, "Wow, we've got another hour and a half of this." Well, I mean, they didn't have that in the budget, Deadpool said so. Yeah, exactly. But that's what I mean about the tone sitting occasionally, uneasily, in terms of it being revealed. I'm definitely not the first person to have said that. But again, too huge. Thankfully, you have an anchor character for your emotional through line. Deadpool himself may vacillate back and forth between, "I care about this. I don't care about anything." But ironically, the man who keeps claiming to not care about anything is coming off as exactly the opposite, as he did back in the year 2000. Yeah. Yeah. But, I mean, Deadpool never feels to me like he doesn't really care about anything. It feels like it's all one big coping mechanism for the fact that his life has been bounced around like a pinball. Like, laugh hiding real tears. Exactly. Yeah. Which brings me back to the Vanessa problem. We railed against it in Deadpool 2. It's like, right, we've finally gotten them back together. That was the entire point of the first movie. And she's dead. And the rest of the movie was about his grief, but it kind of... It earned itself in that regard. Especially in my cabinet. But then he gets her back at the end in a way that a lot of people who just got up when the credits rolled would not have seen. And I thought, "Are they going to be able to explain this to people who didn't see the last bit of Deadpool 2?" And then I thought, "No, fuck it. They just may as well just say there's all of this stuff. They're going to be confused no matter what." The shattered remains of their relationship within this movie feels like we only ever get to see them at their worst. We got to see a lovely montage of them at their best, and then the pain started, and as far as we're concerned, it never stops. Mm-hmm. From the moment that Wade faints after his proposal in the first Deadpool, from that point on, it's tearful reunion, trading filth back and forth, followed by the credits, or something terrible happening. Each of the films is "I'm Not With Vanessa." And this one it felt more so, as well as seeing more significantly what actually happened to Wolverine Alpha. If, do you remember that episode of What If, where the world was kind of broken and ending, and Steven was sort of looking around the place, and everyone was kind of bleeding black ink into the sky, but frozen in place? Do that with Earth 616, the Fox X-Men universe, and everyone that Wade actually cares about. So rather than just leaving them still at a party, have the real genuine, "Oh my god, this whole world is broken, like this is actually now happening, and I've got to get out of this," it makes his goofing around after that, just hiding his fear, and we can see that there's going to be a point where he breaks and goes, "Listen, you motherfucker!" to Wolverine, like, "You may have lost everyone you love, but I can stop that happening to everyone I love." And they kind of do have that in the car, when they have that kind of sex fight to the other one that I want. That one, unlike the first, is initiated by Wade when he just goes off the handle. Oh yeah, but again. The thing Logan says to him is like, "One of the most devastating insults I've ever heard, like it's not a shock that Wade immediately devokes a fight." But like I said, if we show at the beginning the dire necessity for Deadpool to do something, under those circumstances, you've already made abundantly clear that it matters. That whole, like, "I want to matter. I want what I do to actually have an impact." We had that beginning part and then Happy saying, "You know, it's got to be for them, not for you." And that was a nice bit of connection to 616. Whatever way it happened, the whole Avengers being there to serve rather than your overlords was absolutely felt. But then Wade is witness to this horrendous breakage and has to do something rather than nothing, has to matter, and then begins to realize how utterly terrifying it is that the odds are he's going to fail because he's failed at pretty much everything else. Just tighten it up with just that one imperative. So you've got the consequences of not doing anything and then thrown into Wade's face the consequences that he had no say over and is now going to desperately attempt to reverse. I thought the fact that we had so little real interaction with Vanessa meant that her feelings on Wade's situation are hazy at best, and it wasn't clear, although kind of was by the end, but it wasn't really entirely clear. Unclear could have been used to apply to a lot of stuff in Deadpool. So it's not entirely obvious that the reason he feels like he has to do something that matters is because Vanessa wants him to do something that really matters. But that's not true. She wants him to realize that he matters, and he's the one who needs that to be action rather than just existing. That whole thing about you can't be a human being, you have to be a human doing. He feels like his worth in the world has to be active because he's fated to be in an action movie. The other thing is that without that, "Oh my God, this is terrible and it's cosmic and it's beyond human control", is that you don't end up with multiple scenes of Wade stood in front of paradox and eventually headbutting him in the nose and it's like, "Wade, just cut his fucking head off. You've got two adamantium catanas. No one's going to stop you." Your problem is over in the amount of time it takes to go and funk. It gives us something far more terrifying for Wade to be working against than this Pratt. But then you could also interpret that as, "Wade wants something to do". Paradox ultimately is giving to you. I don't make for a better story. Wade's bored and wants something to do, so we thought we'd fuck about for two hours. Wade feels unfulfilled and wants something to do. How Wade got his groove back. Yes. How is that better? I'm not saying it is better. It's not. I could tell you right now, like a dramatic imperative is important because you show people what should happen should we fail. That's the reason why the sacking of the Shire was totally in the Fellowship of the Ring. Just be like, "This Frodo will be what happens. The home you have to come back to. Should you fail?" Hella told him that after drinking a little special water. From my perspective, part of Wade's arc in this movie was like he started out saying, "I need to matter". And what he meant by that specifically was, "I need to matter to Vanessa". And by the time we got to the end, part of his terrifying existential crisis was the realization that not only does he matter, but he might be the only thing that matters in his universe and he needed to come back and say that he went from needing to matter to Vanessa to being able to see his own worth. As Sharon said, realizing that he matters to himself and using that empowerment to matter to the rest of his world. Do you save them with, I guess, the power of confidence? As anything about Wade is that Wade's greatest fear is being a bird, and that is what Logan says to him. You are this terrible burden that we all have to deal with and we will never be rid of you because you are a mortal. He's projecting like crazy there because he's talking about himself. Lying around this adamantium skeleton, he's stuck in the world and the world can't be rid of him any more than he can be rid of the world. Right, but it's clear Wade is not super confident in him. He's very projected. He projects his confidence because he's not actually super confident. Well very basic, nobody actually likes you. We all secretly hate you. It's essentially what Logan says to him in the car. Everybody hangs out with you because they pity you. Yes, that stretches back. The first movie where he leaves Vanessa because he doesn't want to be a bird at tour, he's dying. He hates the idea that he will bring other people down. And they both have this undercurrent of they're perceived as strong and being pitied undermines that strength. And that's what they can't bear, is for somebody to look at them and feel sorry for them. And that goes right the way back to Wade sitting in the doctor's office with Vanessa. She launches into "Okay, what do we do now?" and he sat there feeling like... Accepting death. Yeah, but I don't want her to pity me. I don't want that to be how she sees me. I don't want my pain to be magnified as her pain. Missing the fact that that the whole point of... The whole point of relationship in those moments of pain is that you share that pain. Logan ultimately gets to share it with Laura because she witnesses his death. He doesn't want her to have to see that, but he's giving her something very valuable there. Is that shared vulnerability? Which Wade could have given Vanessa from jump if he had the strength to do so. He gave her the vulnerability, she got shot. Yeah. Then he prevented it. And I feel like the subtext is he broke up with her because when he went to try to get her back in the first film, she was almost murdered. When he was with her and they were happy because of what he does, she was murdered by accident purely as a result of the chaos. It's ironic that one of the guys who murdered John Wick's dog was the director of that film because John Wick makes it very clear that cancer, not his profession, took the woman he loves. And he was targeted not because of his profession in a way that ended up with the death of Daisy, the dog, but because he had a cool car. It's kind of the antithesis of "I am secretly Spider-Man, so must be permanently alone". The film we've had three different directors across these and so the fact that there's coherence at all would be down to the, there's a pair of writers who've been on all three. Rhett Reese and Paul Wernick, also for this third one, Zeb Wells, who's been a Marvel comic writer since the early 2000s. I don't know why we're making all these comic book movies over the past two and a half decades. Only a handful of the screenwriters were comic writers. There's this weird, snooty, insular assertion that comic writers don't know how to write comic book characters for the screen. That's why we get people like Skip Woods, the writer of Swordfish, to do X-Men Origins Wolverine. And he did a shit job. I don't want to take work away from good Hollywood screenwriters. I do want to take projects away from bad ones. And the only way to beat a writer with a bad screenplay is a writer with a good screenplay. Also violence. One thing I did have written down, we got no cable or domino in this, but also no zeitgeist and thankfully no weasel. Like they just quietly nudged TJ Miller off the cliff. I was surprised there wasn't any kind of wink, wink, nudge, nudge. Yeah, we know what that guy did, right? Nothing, he's just not mentioned. Which is a proper movie. They should have just recast Ignataro. Yeah, yeah. Oh, Ignataro, my good friend Weasel. Yeah, what do you want there, Wade? Another drink? I will give you a blowjob. Oh my god, Ignataro, as the barkeep in that place, would be amazing. She's fucking fantastic. Also, we don't have the Vanisher. I didn't see him, did anyone else? They might have been in the room, I think it was on the picture. I checked the minor roles for sudden appearances. We've got Daniel Medina-Raymos as Toad instead of Ray Park. Curtis Roland Small as Bullseye from the Deadpool - oh, Daredevil movie from 2003 instead of Colin Farrell. Jade Ly as Deathstroke instead of Kelly Hugh. Deathstroke. Yeah, absolutely right. Deathstroke is flayed to Wilson. The guy that Deadpool is effectively kind of a parody of. Jade Ly as Deathstroke instead of Kelly Hugh. Billy Clement as the Russian from the 2004 Punisher movie. Instead of Kevin Nash, I didn't know he played him. Aaron W. Reed as Juggernaut instead of Vinny Jones. Mike Waters as Blob instead of Kevin Durand. Eduardo Munoz as Azazel instead of Jason Fleming. Ayesha Hussein as Sylog instead of Olivia Munn. And my hypothesis is, who do I think said no when they did the rounds of phone calls and there were a lot of them? Vinny Jones, Thomas Jane and Sir Ian McKellen. I don't know why I think they said no, but there's just this punisher shaped hole in the movie where it feels like he should have been there with the rocket launcher and like he's sort of fulfilling that part of his version of the universe. And they kind of, they make it, they say, yeah Frank Castle was here, then he died. So it's kind of like, you know in Mass Effect 2 where if you fail to save someone, they send along a different Krogan. And it's like, oh, well, okay, I guess we have this instead of the original. But that's weird because Thomas Jane was actually in a fan film, totally unlicensed, called Dirty Laundry where he plays Frank Castle again. It was made in 2012, only 10 minutes long, but it also co-starred Ron Perlman. I feel like Thomas Jane would totally come back for that. Maybe he was asking for the same fee as Hugh Jackman. Or Chris Evans, hey, we're in the movie for the same length of time, we should get paid the same. I feel like Vinny Jones should definitely have been juggernaut because his helmet is a load bearing prop for the movie. So why would you do that with a stunt double? But from our digital Cowboys interview with Dominic Diamond back in like 2009, he mentioned that Vinny Jones was very difficult to work with as a guest and demanded cash in hand every time they asked him to do anything. 500 quid! I think he actually got the job with juggernaut because Matthew Vaughn for a short while was going to be directing X-Men 3. Vaughn being producer on lockstop in Two Smith & Barrels, Snatch and a whole bunch of other guy Ritchie projects. But then, didn't work out, but Vinny Jones stuck around. And the previous juggernaut from Deadpool 2 was actually voiced by Ryan Reynolds and was a great big CGI thing. So Ian McKellen said no, I think, or they just didn't get him because it feels like he'd be the one leading the goddamn resistance, doesn't it? I know he's been doing a lot of stage work recently. Oh, no, don't do it by him. But I mean, I would have actually made that, you know, if this might be the last time we actually get McKellen, he's alive and kicking, have him reflect back on his time as Magneto and go, you know what? I just didn't give people enough of a shot and I took everyone for granted and have him go down in a blaze of glory. That would have been wonderful. Finally fulfilling his principles at the end. Oh, I have to admit, I do love the resistance characters. Oh, yeah, I think they're a great little one. And I love Channy Tatum, Esky. Just playing it totally straight with a very thick Louisiana Kajan accent. I didn't expect that. Yeah, the accent is definitely a joke, but they play it straight. He's not smirking. He's not my name's Jeff. He's not doing that. Oh, yeah, he's happy to be here. Yeah. Well, you're just happy to be here, aren't you? He's playing the character straight, but visually, like you say, the accent is a joke. The fact that the costume is a fraction too small for him is a joke. That's we wanted to hire you 15 years ago, but we've got you now, but we still have the same outfit. Taylor Kitch was nowhere near this particular project. I feel like they brought in Channy Tatum when they couldn't get one of the above, when they couldn't get either Thomas Jane or Sir Ian McKellen to be a major player in that particular resistance. Honestly, I think with the nature of this whole movie, I think he was in this the whole time. I think he's good friends with Ryan Reynolds. I think they planned this. That would show up his game, but that wasn't like the first draft. I described it originally as being not a million miles shy of a digital Nicholas Cage as Superman reborn, fighting a giant spider to reference a college lecture routine that Kevin Smith performed, like 17, 20 years ago, about why that particular project never got made. But there's so much wrong with The Flash, and it seems to not be able to make any kind of meta-textual commentary on the nature of DC's films and how, notably, they can't do anything without Batman, like you've got to have Batman there, which of course would have been a lot funnier had Ezra Miller not been so horrendous in their behavior that you kind of needed to distract people from them by pointing at Michael Keaton and going, "We even got Christopher even this thing after a fashion." It's a tough watch at times, but not as detestable as I think a lot of people made out, but it's parts are better than it's some, if that makes sense. Wow, you rarely say that, but yeah. Whereas this is the other way around. It's better than some of its parts, the standard. Yeah, the whole is better than the pieces. If you look at the pieces individually, you might go, "It's quite a lot." Tyler Maine back his saber tooth, that was great, and it also had that kind of, "You know what? Actually, yeah, Wolverine would have just cut his goddamn head off, because Creed doesn't have the aluminium skeleton, so why wouldn't he?" It's Highlander rules. That's actually how I think in the 616, the original, that's how you would kill Wolverine. But he countervents there by having an unbreakable shit. Yeah, he's got that neck that's just in the way every time you try to hack that thing off. We also have Aaron Stanford back as Pyro. And he has not grown emotionally one, I hope. He really hasn't. By all means talk about the resistance, so we've got Electra, Blade, Gambit. And X23, who drew the biggest gasp from you, Sharon. Yeah, I had no idea that she was going to be in it. Daphnekeen was very sly when asked about an interview she said truthfully, "I will be watching the movie as a fan." Very good. I hate to keep doing, news reporters keep doing that. Are you in the whole point? The whole point is that this is full of surprises. Stop trying to nab them. Are you going to answer this question that I'm sure you have signed an NDA, meaning you cannot answer, but I'm going to ask it anyway. The last Spider-Man movie they fucking, like Andrew Garfield got inundated with those questions that I felt really bad for. And then you've got like YouTube videos going, "Andrew Garfield lied to us." What the fuck was he supposed to do? Just get up and walk away. Audie Jay did that one time with Christian Guru Murphy when he said, "About the drugs and Tony Stark, will you maybe think, "Okay, I'm getting really, you know, this is a little bit too personal, can we move on?" Okay, but about the drugs, okay, bye. And he just literally just stands up, this is for the age of Ultron thing. And it was like, "Christian, dude, read the room." That was definitely something you saw. He was like, "I'll have to ask him." Probably what made R.D.J. a little bit reticent to sign on for the rest of his goddamn life, to ask in-name questions and really personal shit like that. But yeah, the idea that Laura was still in existence and even more so, the fact that she gets rescued back to the universe at the end. I had forgotten that particular fact, and I was like, "I am so, so on edge about what, apparently, this entire group of virtuous characters, "including the daywalker and Nachi-os herself." Yeah, that was the other one. I-I-I didn't want to sing Gambit die twice in one year. I was really happy that Jennifer Garner was there as well. Oh, someone else who said no, Van Affleck. Because when he's like, "Sorry about Daredevil." Eh. And he's like, "Oh, that's a double matter. Those are rare." Yeah. Yes. But, uh... It-it's definitely you could feel like these four who were probably tied up really early, and they were excited a few years. Wesley Snipes is, of course, probably the most we've seen him as Blade since Blade 2. He sure wasn't there. Yeah, he was checked out for that one where Ryan Reynolds kept hogging the camera the whole time, and they couldn't get on backstage. Were you in Blade? I was in... Oh, I wish I was in Blade. That-the first two movies are fantastic. I am in Blade Trinity, which, uh... is... No. No. Um... Here's what I'll say about Blade Trinity. If you watch-and-and, by the way, I'm friends with the writer/director, and he agrees with me on this. If you just sit and watch Blade Trinity, it's a D-minus. It just doesn't work. But if you know what they went through to get that movie made, it is an A-plus. The fact that that movie exists puts it above Citizen Kane. The fact that they-with all the craziness that went down, we were in Vancouver, and Wesley Snipes was going crazy, and he wouldn't come out of his trailer, and you'd walk by his trailer, and this wall of-of pot stench would just be like, "Whoa!" and it kind of pushed you to the side, and then he would-you-he would only answer to the name "Blade." You-you couldn't call him... He would only answer to Blade! Yeah, and, uh, after a while, he-he resorted to just give-he would communicate with-with, uh, post-its that he would give to the director, and each one he would sign "Blade." (laughter) And-and also, you know that it's-it's a totally, um, science-fiction-y fantasy film because there's a scene where I play basketball against a tall black guy and totally stuff on him, so... (laughter) That's the most unbelievable thing. That's where you're like, "Yeah, yeah, vampires could take over a cook." Wait, did Pat just stuff on a 6-3 black dude? What? Who wrote this crap? It was that bad, so... That's not what everybody... So Reynolds was acting against, like, nobody, and a lot of those seem-which is why he's just, like, riffing, but it seems like whatever happened, they buried that between Reynolds and Snipes, and Snipes is excited to be here. He's-he's fully engaged in this movie. The-the-the one and only "Blade." That was a great future-proofing joke. It's just a look to the camera, which can mean either, "Yeah, they're having trouble getting that off the ground right now, or in the future, now we know about the "Blade," or in the far future, or near future, as it turns out, Wesley Stark did come back as "Blade" in an ongoing capacity, and he's teaching another younger vampire daywalker, so-called "Blade." Yeah, it's-it's... I'm your whistler now. It's perfect. It's a perfect joke. You're right, you've-they future-proofed it. You can read anything you want into that... Yeah, a little... ...weight-spiking the camera. It transcends time. Effectively, he's Dr. Manhattan-ing us. It is 2024. I am making a joke about "Blade." It is 2027. I am making a joke about "Blade." It is 2100. I am making a joke about "Blade." And I've been dead for a long time. He's still got it, you feel... ...electra, still got a Jennifer... Jennifer Garner. Garner, thank you. It was coming up with the wrong Jennifer, isn't it? However, X-23, for me, was... It was an unexpected, huge, sudden change in the tone of the movie in the best way, because I was like... Finally, we actually get to have her sit-down with Logan and it's a very sparing conversation. She's almost... She's almost... She is clearly being careful not to lead him too much or emotionally manipulate him too much, but just impart the information as it is. But there's... (sigh) There's a meta-textual element to that as well. As far as Stephanie Keene has not been a fantastically well-utilized actress in the roles she's had since Logan. The relationship between Logan and Laura has always been one of the strongest and most visceral and sentimental relationships in any of these movies. And to be able to bring her back with the adult perspective and as the almost the mentor or the coach who be failing Logan and bring him back, like bring all of that emotion back and be able to, again, say the things to this Logan that she never got to say to her Logan. It was really, really powerful. And even if the entire rest of this movie were complete garbage, it would be worth it for that scene. Yeah, great. I'm always going to pop for X-23. Like, I remember being a kid. I saw the episode of X-Men Evolution where they first introduced the character concept of her. Like, I watched that premiere as like a 10-year-old kid, and so I've always loved the character, so it was very exciting to see her come back for this. And she definitely delivered. For the folks who didn't listen to our show on that very animated series, her first appearance is to sneak into the mansion, and she's got a job to do, but she keeps wandering in and out of the dormitaries and looking at how these kids live. She's a ghost at the feast. She's thinking about being a person. I can completely understand why she was the Harley Quinn of that show, and actually was fascinating enough to make... I mean, more so than a lot of actual X-Men characters that they've tried to work with so many times over the years. There's something special about X-23, and I've been saying for years now, since Logan, that if the Marvel MCU 616, that is not 616, we're going to do a Wolverine, just get definitely keen. In the same way as we can't go back and somehow cast a better, standard male Wolverine who's now suddenly tall and suddenly a noble samurai rather than a scrappy little shit, which is what he was originally written as. But it's like if you're going to do a Captain America now, he's got to be significantly different to the version of Steve Rogers in our head, and that's all on Sam for the next book. I also found the idea that if Logan is the anchor being for this universe, that Laura is the anchor for him, to be quite a powerful one, that if there was a reason for him to step up, then it be her again, because she was the reason that the other Logan became something other than what they made him. Yeah, and that's why I said this works very poorly as a sequel to Logan, like this Logan, Alpha Logan's entire arc is dependent on having that meeting with Laura, and that only happens if Bobence Logan happens. The section where he's stuck in his own mind and Cassandra's invaded and she's talking to him in the dark in a field with those giant pillars next to him that don't seem to mean anything specifically, but absolutely stand for the graves in Days of Future Past. I've been trying not to gush too much, but Hugh brings it in a way that you're like, "Ah, this is why the X-Men movies did matter, because from day one we had a character for whom he was all, exactly as Laura said, you were never the right guy." He was always sort of brushing people away, "You're asking me to save the day at this point, I'm not a hero, I was never a hero, leave me alone." And his nature keeps bringing him back, whereas Deadpool is going at it from the opposite direction, "I want to matter, I want to be a hero." And his tenacity and actually his compulsion to do the right thing and protect people who do need to be protected, or indeed dogs that do need to be protected. It puts them on a level playing field, even if they're approaching it from wildly different angles, emphasis on the wild. And also they both have in common and it's emphasized in these tellings of their stories. That thing about there's only a handful of moments that you get to be a superhero, but the point being that you choose to take the superhero path when those moments come up. There is never a time when you get to say, "I'm a good person, and therefore everything I do will be a good thing." You have to choose every time. Every time those moments come up, whether they are big or small, and there are not just six, there are hundreds in a day, you get to choose whether you do the good thing or the less good thing. It's not a default. And Logan and Deb and Wade keep coming back to making the right choices when it matters. I feel like a big thing about this movie is all of a sudden you don't have to do things by yourself. Yeah. Yeah. That is literally like the text at the end of the movie where Logan and Wade are trying to outflank each other, essentially to make the ultimate sacrifice and then realize they have to do it together. And by doing it together, it's not even a sacrifice that can survive because of their combined healing factors. That's remarkably similar to the ending of Guardians of the Galaxy as well, that by joining hands and actually finding some unity amidst all the bickering, it can actually push through. Guardians may be funny as hell, but there is absolutely sincerity in there. I have not yet seen Borderlands, but since it's aping Suicide Squad, which had no sincerity aside from Margot Robbie, and Suicide Squad was running on the coattails of Guardians of the Galaxy going, "Do you like that? Do you like us doing the same thing?" It's not the same thing at all. And especially as much of the tone was foisted onto an already pretty much done movie with a completely different tone originally, just like Justice League. But Borderlands, from the outside, appears to be incredibly insincere, illustrating that you can't just turn up, have a ragtag bunch of idiots and have them be shitty to each other in a way that should utilize the mannerisms of amusing, humorous dialogue, and then at the end you've got a hit. That's not the same thing at all. And all the Guardians copycats that have got pied by since then, only a few of them have actually really succeeded, and nobody saw Dungeons & Dragons. I did. I did. Yep, that's coming up by the end of the year, folks. One of our absolute favorites of last year. If you haven't seen it, then you're with everyone else. Change that. Come join us for this quiet, lonely bell turn. If you're watching this show, you probably already have a Paramount+ subscription or you've got your, you know, month trial. Oh damn boy, nobody has a Paramount+ subscription. Go watch it. Hey, watch it. Yeah, it's very, very good. That was the key in this in the end, especially watching it the second time, and like at what point are we made very aware that it does matter? And the answer is every time that it counts. They don't belabor it at points where we aren't doubting them. They do remind us when we have begun to waver regarding their commitment to this. And again, I feel like it's the fact that Hugh Jackman from the very beginning approached this role as a kind of being roped into it. But the actor himself actually delivering the courage of actually being able to do the right thing, even if it was painful, that that actually gave the X-Men an adamantium spine to cling to throughout the tenure of their movie series. Because without that, if it had gone to do Grey Scott, they had rebooted it by 2008. Easily, easily. Yeah. They might have rebooted it before they got to the end of that movie. Yeah. Oh, sorry about this. We bought it in an alternate. It's Australian. The Deadpool gang. They were a slight hitch to me, but I don't want to finish this thing talking about stuff that bothered me, but here is why. For one thing, you've got Nice Deadpool and Dogpool, who, you know, were great colossal fun, but there's this immediate feeling of, I get why Nice Deadpool, who never got fucked up by Francis, is, you know, of this particular, I mean, he's exaggerated, but Deadpool's always exaggerated. I understand this guy. Then when the Deadpool gang shows up, it confirmed my worst fears, which is that they all have no particular motive. They're all just there as kind of a private army. It's just regurgitating the gang of Loki variants from the Loki TV show. I didn't buy it then. It's even worse than the inverse lore of Ninjas. You make your character less fascinating if a gang of them are just thugs. Just a bunch of lackeys. A squad of stooges. A gaggle of goons. Worst aspect of these multiverse films is that we see a plurality of gangs. A scheme of loquies. A group on of Antmans. Jonathan Hickman's 2015 equivalent of Crisis on Infinite Earth's Secret Wars had a Thor core. We shouldn't have to see a deltoid of thaws. It makes the Odinson less special. Actually, I looked this up and the collective term for a large group of gangs is called class action. And it's actually like another absolutely fantastic film with multiples of one superhero/antihero. Spider-Man across the Spider-Verse when all of those Spider-Man are pursuing miles. And we will obviously talk about that when we talk about this for the end of the year. I think I'm going to make that a Christmas present for everyone folks. All of these are Peter Parker's or whoever they are's under the mask. But they've all been through all kinds of shit and they all have to think about what the right thing to do is. It doesn't make any sense that Miguel goes chase that young Spider-Man down and they all go "You're right. Let's go do that without questioning it whatsoever." And just as one as this tidal wave of Spidey is a spider wave if you will. Without thought, without conscience, without questioning, without all of those things that Peter exercises every fucking day of his life and so does miles and so does Gwen. Guarantee if you've got a hundred variants of me in a room and said "Go kill this version of yourself." Ninety-seven of them would tell you to go fuck yourself in different ways. It doesn't make sense that Deadpool would become a pack of attack dogs and still retain their individuality. It made no sense. I can forgive all kinds of "This doesn't actually make any sense in terms of physics or time travel or whatever, like it breaks its own rules." It can't hold you can drive a truck through. As long as there is a consistency of soul, but I find it very, very hard to overlook emotional betrayal that we aren't supposed to consider. It made no sense to me that all the Deadpool's were just that level of not much. Including Blake Lively's Ladypool, Matthew McConaughey's Cowboypool, and Nathan Fillion's Flying Headpool. I think it was pitch meeting pointed out. The old boy style fight that moves from the left to the right to that glorious Madonna remix. Nobody can die. All they could do is hack at each other in order for them to get themselves from here to there. But it's almost like you didn't actually have to do that. You could just have run because there's really no point killing all of these guys and then they get back up again. They're all Deadpool. You should know this. They should know this. Why are we even having this fight? But it's like they have to hack apart at a small private army. And I feel like it should have been a different army because none of those Deadpool's convinced as Deadpool. There's only one. That's why the fight with the resistance against all the goons. That's the better fight of the movie. But at the same time it always feels wrong when you throw Wolverine up against Toad. Or that poor guy who was standing in for Spike/Mero in X-Men 3. I always come back to that. Just ran at Wolverine and Wolverine was like, "I literally cannot die." And now I murder you homeless moorlock. It's like just punch him with your adamantium fist, punk. You head-potted someone with your adamantium skull and then forgot that that was a great move. In the first time we ever saw him. So anyway, talk about something all else that's also good. You shouldn't be short on things that are actually excellent. The choreography, for example, was explained. Oh, yeah, a guy who loves fight scenes. There's the opening, Deadpool using all of the pieces of the Wolverine. He's using his leg bones like nutjacks, they're not me. And also probably one of the best needle drops of the year everyone is loving the bye-bye-bye needle drop. And it makes perfect sense. It's the opposite of the new metal craze of the early 2000s. Like, you know, if you're going to have jet-lee, wicked jet-lee in the one, kick a bunch of dudes' asses. You're going to want bodies by drowning pool and just be like, "Really?" My chrome ears are burning. Best soundtrack ever, man. The absurdity, they would never could you imagine if back in 2000 with just the stick-on bye-bye-bye for that particular scene in the one. The core audience would go, "No!" "You're ruining jet-lee!" Now you have to line it up. They miss the trick, though, by not using a "Wake Me Up" with a lecture. Oh, yeah. My edit, and I'm going to do an edit, will include "Wake Me Up Inside." Oh, man. You're absolutely right. Because of course, this was a magical mystery tour through all the other movies as well, as much as they could possibly pull together, if you will, of the dead franchises. Yeah. Silver Surfer should have turned up. Bit of extra work for Doug Jones. He'd have been fine with that. Your voice was a lot deeper before. Yes, well, I've come through some changes and we couldn't get Lowens Fishburn back. The ego on that black goliath. Oh, I did find one thinger. I was like, "Why is there a dead ant man?" Like giant skeleton thing here. Is that some sort of thinly veiled reference to the fact that that is a dead franchise now. They are never doing another ant man film again. It's even more obscure than that. There is a shot in Endgame with giant man fighting in the background. But at that point of the film, Scott and the Wasp were in their time-traveling weed wagon. So that's an anomalous giant man. That footage plays in the TVA headquarters. ♪ 'Cause I need a man ♪ Well done. Even I wasn't aware of that anomalous giant man who clearly got pruned and skinned. Ooh, I'm going to make a name for myself here. I was so afraid they were going to pull another X-Force and just have them die embarrassingly. So it was very cool to actually know they actually got these moments to look badass. Channing Tatum got to be Gambit. And that power signature, like the Gambit, the VFX on the cards and on his staff and everything, was phenomenal. It looked great. It was really cool to be able to see even from the big drone shots and wherever the camera was moving, you could always tell where Gambit was and what he was doing. That's the thing, isn't it? It's so in love with the crazy cookiness of the X-Men comics that when they put on the yellow spandex, that's the sincerity. When Cyclops went, what do you want? Yellow spandex back in 2000? That was the instant-sarity. That was where in Paris to be a superhero thing. We're all nitrix black leathers, biker leathers. That it's noteworthy meant that Scott was unable to mantle over a small wall because his legs were too stiff and he couldn't see where it was going in that awful costume. Both of the Wolverine Deadpool fights are basically exactly what you would imagine of two fights between two guys who cannot die fighting until Kingdom Come and Trumpets sound. I just remembered, when Deadpool finds shitty old man Logan, as written by Mark Millar, from his version of the source book that Logan grew from and excluded Bruce Banner, spawning hillbilly inbred hic hulks with his cousin she-hul. Ugh! That wasn't in shot, but old man on the back porch blasts Wade off his property, blowing a hole in his stomach like in debt becomes her! Oh my God! Two rotten friends who can't die and take that out on each other. What I said before at the very beginning about Wolverine being there from the very beginning, the whole, you know, smoothed criminals down under, the fact that he puts on a Wolverine cutout mask from a magazine that he fashions for himself to go underneath his mask. And like I said, the Logan Envy go running throughout Deadpool 2. And then the finale, like, if you watch the extended edition of Deadpool 2, which I haven't since 2018, I don't like it, it's not as funny. Like, across the board, every single decision they make in there was less on point than any of the other cuts, including mine. But Deadpool says to Logan, whilst repeatedly popping caps in the ass of Mute Baraka in red sweatpants. Hey! It's me! Don't scratch! Cleaning up the timelines. Look, eventually, you're gonna hang up the claws, and it's gonna make a lot of people very sad. Huh? But one day, your old pal Wade's gonna ask you to get back in the saddle again. And when he does, say yes. Oh, right. Love you. Oh, that has so much remaining now. I still need to re-incorporate that into my cut of it. Hugh Jackman has been doing this, you know, the Wolverine years. He had years of experience, you know, swinging his arms around like Claude. This is the first time he's, like, assumed the traditional Wolverine fighting stance of, like, crouching real low, his arms out at his side. But he actually incorporated some doing that, and it worked pretty well. Founding on all fours. Yeah, he was crawling and all got the animals. Spirit going for him in this one. Yeah. That works way better on you than it did for Leaf Shriver. Should have been something that Deadpool said. That idea of having two beings that can't die as frenemies. Best way forward, word for it. Yeah, it ultimately... That enables them both to wail on each other in a way that they can't on anyone else. To let out all those pent-up frustrations. Yeah. Yeah. And then, in the end, they're still there, and they've left to find a way forward. 'Cause they can't kill each other, no matter how hard they track. It kind of reminds me of what you had suggested, Alex, way back in when we were talking about, I think, Thor Ragnarok. Mm-hmm. How, you know, Thor and Hulk should have been training buddies the whole time. Yep. Thor was the only person who could take a beating from the Hulk and keep going. So, you know, that should have been an ongoing deal, and, you know, use that as training. And this is kind of a similar situation. Like, really, nobody but Deadpool could be an adequate, like, real sparring partner for Logan and vice versa. Nobody can fight with Deadpool except for Wolverine, and nobody can fight with Wolverine except for Deadpool. Yeah, as was shown by him firsting off against his nemesis Sabertooth and ending the fight. About as quickly as he actually would have ended the fight against Mystique in that first insincere movie. Yeah. Yeah, but she's got, like, Matrix powers, so, like, she can kick his adamantium skeleton and not break her fucking turn. Well, she's, like, morphing so that she didn't break her foot. Nope. Thor. Yeah, let's go with that. Yeah. He did, however, alert me to, and again, I'm going to come back to, uh, Civil War and also my assumption from 2018 that once Marvel bought Fox, Deadpool would now be turning up in a load of other movies. They've got to use him really sparingly. Because he could subtract the drama with a badly written line. Or just a decision that becomes regrettable by the end. Because everyone else still needs to live in a world where what they do matters and they don't know they're being watched. They can't all just be a, a, a rollicking good joke and nothing matters because then you have love and thunder. Because, I mean, that's cool, isn't it? Like, cool? Yeah. Constantly talking about, says, like, you have a sexual relationship with your hammer. And it's like, that was really funny and, uh, Ragnarok. Now you're really belaboring the point. And also spelling out his, uh, insecurities. It's just... Do you know who I'd put him with? Somebody serious. I mean, the fact that they had Colossus in this film and Wolverine here. And I know they've done one faux one but couldn't manage a fastball special. Come on! They could have had the other version of Juggy do it. It's a bit obvious this because it's coming from me. Somebody serious. But I'd partner in, I'd partner him up with Bucky and Sam. Two people who have already at least started processing their military trauma. Which Wade hasn't touched. But you know it's there. Yeah. I would want to partner Wade up with someone that he actually winds up wanting to protect. Someone that he jibes at. But someone that ultimately he... Jubilee or Shadowcat. Someone that matters to the story. Like I said, way back in 2015, 2016 when Deadpool was in development. They've got to have him care about somebody. I didn't realise at the time quite how key Vanessa was going to be. But I was like, Gwenpool was a new character. So someone, like a little kid that he's actually just trying to help. And that's what they decided to do for Deadpool 2. If Deadpool doesn't care, the movie doesn't care and nothing matters. So he can't just turn up and not care and that's the joke. Yeah. That's why these three movies have worked is that they are not actually cynical. Like, he just makes occasional cynical jokes. But he's like, you know, Deadpool the character cares about the stakes of the movie and cares about the people in them. You see, he's not checked out of his own story. It's not... It's... The parody parts are, you know, loving parodies. I don't care that you played a Green Day song at the end of this movie over in Deadpool. You're not going to convince me that the Fox universe was this great noble thing. But I'm happy you're trying. It's better that you did that and then treat the whole thing as a joke. The film is more in love with the potential that it did have with what it could have been than the mess it became. It's also, it's sort of acknowledging that you can love an imperfect thing. That nostalgia is the act of loving an imperfect thing. Really Deadpool is kind of the perfect medium for unpacking and examining the Fox universe because we can make jokes about it. We can acknowledge the problems that it had and the mistakes that they made while also sort of reveling in the things that we enjoyed about it. Say what you want about the electro movie, it was real bad, but Jennifer Garner's never not great. She does take it seriously again. The character mattered to her. Exactly. Even if the execution of the character sucked. Give it a line of "I think I was born here" is one of my favorite jokes in the world. It was... Yes, it was great. The Fox is Gambit, aka foregone conclusion. Oh, you go straight in there. Yeah. Poor little guy, never got a chance to live. So are you so excited to be in this movie? Yeah. Sally Field says to Sony, "Was the Aunt May solo movie just a flex on your part?" Yes, of course it was. (LAUGHTER) (MUSIC PLAYING) (LAUGHTER) (MUSIC PLAYING) (MUSIC PLAYING) (LAUGHTER) I'm safe. (MUSIC PLAYING) (MUSIC PLAYING) (MUSIC PLAYING) (MUSIC PLAYING) (MUSIC PLAYING) (MUSIC PLAYING) (MUSIC PLAYING) (MUSIC PLAYING) My lord, go f*** yourself. (MUSIC PLAYING) (MUSIC PLAYING) (MUSIC PLAYING) (upbeat music) School of Movies is brought to you by Skillshare. Movie, Better Health, Blue Apron, Audible, Squarespace, Keeps, Ray Car, World of Warcraft, a mobile game that wants to be World of Warcraft. Subway, Bad Dragon, Kodak Gold, Torgo's Executive Powder, Georgies Gulash Dogs, the finest Gulash dog this out of the dandy, you guys. If you didn't keep throwing in every month, I'd have to get a job chasing down crack-attled squirrels at the local playground. So thank you to everyone who spares my fingers and face from being eaten off, especially those top tier backers who get their X-Men name called out every episode. Extra special, thank you too. Aaron Burns, Aaron LaCluse, Abel Savard, Alejandro Vargas, Alex Brewington, Angus Lee, Benjamin Biddle, Brian Novak, Cassandra Newman, Chris Finnett, Garan Dachele, Connor Kennedy, Dan Mayer, Daniel Solguero, Dan Hebner, Dave Hickman, David Chile, Finn Barnacock, Frankie Bunesy, Greg Downe, James Enright, Essie Ferguson, Joe Crow, Joel Robinson, Joanne Clawson, Joe Gluck, Josh Palsland, Kevin Vahhey, Lorraine Chisholm, Marty Polmayer, Matthew A. Seabut, Michael Hasko, Sean Doron, Toby Skils Jungiess, Tim Rosansky, Timothy Green, Tom Painter, Tyler Law, Sarah Montgomery, and Kat Essmann. (upbeat music) I think this will do for the time being, I'm fairly certain we're gonna see these guys again at some point soon, in a scenario where we'll have a lot to talk about. - They're 90. - They're 90. - 'Till you're 90. - Both of them benefit from the fact that Wolverine, just getting older is like, I accept this. Everyone accepts that him getting older is fine, and that Deadpool can very easily be stripped out for stuntmen, which by the way reminds me, all of those names that I read out as the people playing Toad and Death Strike and the Russian, they were all actual stunt people, and they all have effectively Maya's job. So had she been around at exactly the right time, she could've been the one playing sidewalk. And there's something about that that's actually kinda cool, and the idea that you're not actually fighting the actor who embodied that person, but you are fighting their stunt double. - Somehow, if they'd managed to get back. - Bad, not Deadpool at the end of, it's been a lot of Deadpool's. - Oh, god, actually. - If they'd managed to get back Skorad kids, that would've been a gambit level. - That would've been good. - That would've been a huge get. - Yeah, have him play another version of Deadpool. - He should've been one of the Deadpools. - Yeah, just as himself, with the fuckin' sewn up lips and then Deadpool slashes them open, and says, "Finally, tell us what your thing is." He's like, "Well, I'm a stunt man, but I tried my best." (laughing) - I will say this is the funniest movie I've seen so far this year. I've, you know, there's some things I still need to see, but you haven't seen hundreds of beavers? - I know, I know, that's what I was thinking of, like, oh, if you don't get to be mad, I didn't say hundreds of beavers. I'm sorry, I'm watching. - It's a very obscure movie. - Folks, if you've not heard of it, that's one to watch. - It's great. - It'll probably change, but as of now, this is the funniest movie I've ever seen, and I just, across three movies, somehow, like, they haven't worn out the joke. Like, he's still a consistently funny character, and I think that's very impressive. - Yeah, I was a little, I was getting a little tired of Deadpool at the end of Deadpool 2, I will admit, but-- - Well, it's that friggin' death sequence, just-- - Yeah. (laughing) - Like, the first, like, this completely won me back. Like, I am on board fully little watch any other Deadpool movie that they come out. If it's the same group of people, I trust that they know what they're doing. - They need the two writers. It's-- - Yeah. - And Reynolds, obviously, but keeping the, it's clear that, 'cause you said they switched that. - I mean, the director's three times. So it's clear the writing team is the core of this. Though the bit with good Deadpool is like, oh, I can lightly tap the fourth wall too, and he just looks at the care and goes, "The Propose." - Let's hope so. - That's not what I do. - Motherfucker, you think that's what I do? (laughing) Love it. - So go any way there. In Alien 3, fuck your old. I also want Negasonic to be in later X-Men. I don't know what I want from X-Men, I just know that the best possible touchdown they could find, and go, okay, so we did it really right here. It's 97. That, I think, came out of nowhere, and just people were like, "Oh, God, is it gonna--?" It has to be as good as the '92 one, but there were some real flaws in that one, and then it just turned out to be, "No, no, no." We are going for the throat here, over and over again. It's everything I wanted in the movies, and we are. - This is-- - Yeah. - It's like, this isn't as good as '92. This is the best X-Men animated show of all time. '92 was like, it's fun, but it's not in 197, and holy crap. - So, yeah, okay, folks, we will be back very soon to talk about 97 and more X-Men malarkey. In the meantime, do you folks have anything to plug? - Usually, when I do this, I just plug my best friend, John Cordes, so he does "What the Shell?" It's a hacking podcast. Well, it's a podcast, but, you know, computers and hacking and all that. Interconnects, he recently came back from along hiatus, but the episode is pretty good. I recommend checking it out. - I have nothing to plug. Come hang out with us on the Discord. - Yeah, that's where the magic happens. (laughing) - We will see you next time for more X-drum material. I've been Alex Shaw. - I've been Sharon Shaw. - And, "Skalls Out, Bob." (laughing) ♪ Life is a mystery ♪ ♪ Everyone must stand alone ♪ ♪ I hear you call my name ♪ ♪ And it feels like home ♪ ♪ When you call my name ♪ ♪ It's not good to fret ♪ ♪ I'm down on my knees ♪ ♪ I wanna take you left ♪ ♪ In my head hour ♪ ♪ I can feel your power ♪ ♪ Just like a friend ♪ ♪ You know I'll take you there ♪ ♪ I feel your voice ♪ ♪ It's like an angel sighing ♪ ♪ I have no choice ♪ ♪ I hear your voice ♪ ♪ It feels like flying ♪ ♪ I close my eyes ♪ ♪ Oh God, I think I'm falling ♪ ♪ Out of the sky ♪ ♪ I close my eyes ♪ ♪ Heaven help me ♪ ♪ When you call my name ♪ ♪ It's not good to fret ♪ ♪ I'm down on my knees ♪ ♪ I wanna take you left ♪ ♪ In my head hour ♪ ♪ I can feel your power ♪ ♪ Just like a friend ♪ ♪ You know I'll take you there ♪ ♪ Like a child ♪ ♪ You whisper softly to me ♪ ♪ You're in control ♪ ♪ Just like a child ♪ ♪ No one dancing ♪ ♪ It's like a dream ♪ ♪ No end and no beginning ♪ ♪ You're here with me ♪ ♪ It's like a dream ♪ ♪ Let the choir sing ♪ ♪ When you call my name ♪ ♪ It's like a little prayer ♪ ♪ I'm down on my knees ♪ ♪ I wanna take you there ♪ ♪ In my head hour ♪ ♪ I can feel your power ♪ ♪ Just like a friend ♪ You know I'll take you there when you call my name If it's like a little prayer, I'm down on my knees I wanna take you there in the night and hour I can feel how just like a prayer You know I'll take you there My fear is the mystery Everyone must stand on the ground I hear you call my name I'll make you feel the sky Oh just like a prayer Your voice can take me there Just like the news to me You are a mystery Just like the dream You wanna watch you see Just like a prayer No trust your voice can take me there Just like a prayer I'll take you there It's like a prayer to me Just like a prayer I'll take you there It's like a prayer to me Just like a prayer I'll take you there I'll take you there in the night and hour I'll take you there in the night and hour I'll take you there It's like a prayer to me Just like a prayer Your voice can take me there Just like a news to me You are a mystery Just like the dream You wanna watch you see Just like a prayer Your voice can take me there Just like a prayer Your voice can take me there Just like a news to me You are a mystery Just like a dream You wanna watch you see Just like a prayer No trust your voice can take me there Your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there Just like a prayer No trust your voice can take me there (upbeat music) [BLANK_AUDIO]
