Jake Gyllenhaal Is Pivoting to "Absolutely Insane Person," and We Love to See It

With recent cameos in John Mulaney and the Sack Lunch Bunch and Saturday Night Live, Jake Gyllenhaal is going from playing "somewhat mentally ill main characters" to "total lunatics."

Since his breakthrough in the 1999's October Sky, Jake Gyllenhaal hasn't shied away from outré movie characters.

From portraying Donnie Darko's tormented title character to earning critical acclaim for his lead role in the queer masterpiece Brokeback Mountain, Gyllenhaal seems to enjoy pushing the envelope, although it's usually by way of dramatic films. However, I can't help but notice lately that Gyllenhaal has taken a liking to rather off-the-wall, comical roles. It appears that he might be rebranding himself as an absolutely insane person, and frankly, I love it.

Late last year, Gyllenhaal made an unexpected cameo in John Mulaney's child-focused Netflix special, John Mulaney and the Sack Lunch Bunch. The actor starred as Mr. Music, who tries using a Calypso-style tune to teach the cast of kids that you can find music anywhere (he fails miserably). Speaking on his decision to cast Gyllenhaal, Mulaney explained: "I'd seen him in Sunday in the Park with George, the musical, and I remember watching him and I was like, 'oh man, I'm never gonna be an actor. That guy thinks he's the person. Like, he's out of his mind.'"

Mulaney also mentioned having seen Gyllenhaal in Parasite director Bong Joon-Ho's 2017 film, Okja, portraying a hilariously deranged zoologist and TV personality. In both of these roles, Gyllenhaal is convincingly nuts. Is he OK in his real life? We're not so sure anymore. Do these characters make us a little uncomfortable sometimes? Kind of. But do we love it? Of course we do.

Gyllenhaal and Mulaney had a brief Sack Lunch Bunch reunion on last weekend's episode of Saturday Night Live, wherein the latter portrayed a very confused kiosk cashier at LaGuardia Airport. Gyllenhaal, decked out in a matching pajama set, played a man who enjoys going through airport security a little too much, singing to the tune of "Defying Gravity" about being fondled by TSA agents. All the while, he's being suspended a few feet above the floor, because why not? He's Jake Gyllenhaal, and he's crazy.

None of this has diminished my respect for Gyllenhaal, whom I still consider to be one of today's most talented actors. He's no stranger to playing mentally unstable characters, but his new foray into borderline deranged roles makes me, maybe, respect him even more. We're all a little insane, and if Gyllenhaal can make this hysteria work in his favor, so can you.


Women Lead the Emmys Noms: Beyonce, "Fleabag," and "Russian Doll" Sweep the List

This year's Emmys nominations favored female-created shows.

This year's Emmys nominations list has made headlines because many of the selected shows are actually really high-quality television.

It's noteworthy for another reason: Women (whether female actors, writers, creators, or otherwise) are at the forefront of the majority of the shows under consideration.

Leading the pack is Phoebe Waller-Bridge, the writer and creator of not one but two Emmy nominated shows: Killing Eve and Fleabag. Another show in talks for a win is Russian Doll, the breakout Netflix hit created by and starring Natasha Lyonne. Naturally, Beyoncé also scored six nominations for her Netflix Homecoming special.

Image via The Ringer

Not only do all these shows have female creators: they also star women above the age of 30. Amidst a Hollywood crowd that notoriously snubs this demographic, or writes them into restrictive roles, it's refreshing to see women so well-represented in the nominations list (which could perhaps use more diversity in general).

Don't worry, though: Men were still represented in this year's nominations. Craig Mazin's disaster drama Chernobyl scored 19 nominations, and Game of Thrones scored an incredible 32, despite terrible reviews of its last season. On the other hand, Julia Roberts was snubbed for her role in Veep, while Unbreakable Kimmy Schmidt and (thankfully) The Big Bang Theory received almost no recognition.

Whatever happens, this means that more people will be prompted to bask in the glory of Russian Doll, Fleabag, and Homecoming, and that's a blessing for everyone.

Here's the full list of nominees, via CNN:

Outstanding lead actor in a limited series or TV movie

Mahershala Ali, "True Detective"

Benicio del Toro, "Escape at Dannemora"

Hugh Grant, "A Very English Scandal"

Jared Harris, "Chernobyl"

Jharrel Jerome, "When They See Us"

Sam Rockwell, "Fosse/Verdon"

Outstanding lead actress in a limited series or TV movie

Amy Adams, "Sharp Objects"

Patricia Arquette, "Escape at Dannemora"

Aunjanue Ellis, "When They See Us"

Joey King, "The Act"

Niecy Nash, "When They See Us"

Michelle Williams, "Fosse/Verdon"

Outstanding lead actor in a comedy series

Anthony Anderson, "Black-ish"

Don Cheadle, "Black Monday,"

Ted Danson, "The Good Place"

Michael Douglas, "The Kominksy Method"

Bill Hader, "Barry"

Eugene Levy, "Schitt's Creek"

Outstanding lead actress in a comedy series

Christina Applegate, "Dead to Me"

Rachel Brosnahan, "The Marvelous Mrs. Maisel"

Julia-Louis Dreyfus, "Veep"

Natasha Lyonne, "Russian Doll"

Catherine O'Hara, "Schitt's Creek"

Phoebe Waller-Bridge, "Fleabag"

Outstanding lead actor in a drama series

Jason Bateman, "Ozark"

Sterling K. Brown, "This is Us"

Kit Harrington, "Game of Thrones"

Bob Odenkirk, "Better Call Saul"

Billy Porter, "Pose"

Milo Ventimiglia, "This Is Us"

Outstanding lead actress in a drama series

Emilia Clarke, "Game of Thrones"

Jodie Comer, "Killing Eve"

Viola Davis, "How to Get Away With Murder"

Laura Linney, "Ozark"

Mandy Moore, "This Is Us"

Sandra Oh, "Killing Eve"

Robin Wright, "House of Cards"

Outstanding reality/competition series

"The Amazing Race"

"American Ninja Warrior"

"Nailed It"

"RuPaul's Drag Race"

"Top Chef"

"The Voice"

Outstanding variety talk series

"The Daily Show with Trevor Noah"

"Full Frontal with Samantha Bee"

"Jimmy Kimmel Live"

"Last Week Tonight with John Oliver"

"The Late Late Show with James Corden"

"The Late Show with Stephen Colbert"

Outstanding limited series


"Escape at Dannemora"


'Sharp Objects"

"When They See Us"

Outstanding comedy series


"The Marvelous Mrs. Maisel"


"The Good Place"


"Russian Doll"

"Schitt's Creek"

Outstanding drama series

"Better Call Saul"


"Game of Thrones"

"Killing Eve"




"This Is Us"


The Similarities Between Black Mirror's 'Bandersnatch' and 'The OA' are Too Strange to be Coincidental

There are also major parallels between these shows, Russian Doll, and Stranger Things. (This article contains spoilers).

(This article contains major spoilers for both Black Mirror's Bandersnatch and The OA Season II.)

For a moment, the camera remains focused on the protagonist's bewildered face.

Then it pans out to reveal that the entire world of the show we've just been watching was nothing more than a TV set. Cameramen and directors scurry around; the actors fix their costumes. The main character stares, open-mouthed.

If you make a particular series of choices, you'll arrive at this scene in Black Mirror's Bandersnatch. You can also see it in Season II of The OA, when—extreme spoiler alert—detective Karim Washington finally peers out the mysterious Rose Window, and sees a dimension in which everyone he knows is only an actor in a movie set.

In Bandersnatch, this revelation occurs in a therapist's office, and in The OA it happens on the top floor of a San Francisco mansion, but despite these immediate differences, the two scenes are uncannily similar.

Black Mirror: Bandersnatch -- Neflix Fight Scene

The OA: Part II - 2x08 - Ending Scene (1080p)

This is only one of the many major parallels between two of Netflix's most mysterious, mind-bending shows. Initially, they start with very different premises. Charlie Brooker's Bandersnatch is a two-hour-long roller coaster, notable for its "choose your own adventure" feature, which allows viewers to design their own plot by making various decisions at different points. (Choices range from which kind of cereal to choose to whether the protagonist should kill his father). The protagonist in question is a young computer game coder named Stefan, and the show follows him as he descends into madness while designing an ever-more complex computer game.

The OA is Brit Marling and Zal Batmanglij's ambitious, fourteen-episode brainchild. Its first season follows Marling's character, Prairie, as she tells the story of her near-death experience and subsequent abduction by the show's villain, Hap, a scientist who has become obsessed with studying the brains of people who have brushed close with death. The first season ended on a major cliffhanger; the second begins in a new dimension, when Prairie awakens to find herself inside the body of Nina Azarova, a Russian socialite and medium living the life she would have if not for her NDE.

Objectively, the shows aren't that similar—after all, Bandersnatch takes place in the '80s and mostly focuses on an isolated Stefan as he descends into homicidal madness. On the other hand, the ultra-modern cast of The OA includes everyone from Zendaya to a massive, talking octopus named Old Night.

Image via Buzzfeed

Image via Buzzfeed

Still, upon closer inspection, the similarities are undeniable. Here are some of the most notable places where the two shows' universes meet.

A Computer Game as a Portal to Multiple Realities

In The OA's second season, children lose their minds as they attempt to win money by playing a computer game, which leads them into a mansion that's actually a portal to other universes. The mansion itself is designed to work as a continuation of the game, which allows winners to reach the Rose Window and its mind-bending, reality-altering view.

Similarly, in Bandersnatch, Stefan loses his mind while designing a game that leads him to question every aspect of his reality. While attempting to understand these games, both the kids in The OA and Stefan draw cryptic illustrations on their bedroom walls, isolate themselves, and wind up harming themselves and everyone around them. In each show, the central game lures characters in by promising greatness and wealth—but instead leads them towards either a state of enlightened understanding or paralyzing madness.

Ultimately, both shows use games and technology as vessels that can be used to leap between worlds. Both identify alternate realities that run alongside each other and that intersect at certain points; and both claim that—through deep science, communion with nature, or a few well-placed dance movements—it might be possible to cross from this world to the next.

A Charismatic Tech Guru with Dangerous Theories

One of the most memorable moments in Bandersnatch is the scene where Stefan drops acid with Colin, the Steve Jobs-esque brains behind the tech company Tuckersoft. As soon as the drug kicks in, Colin delivers one of the trippiest monologues in modern television history.

Black Mirror - Bandersnatch (Colin's speech about the PAC-man metaphore)

Image via Reddit

Colin is a prophetic source of wisdom throughout the show—just like The OA's leading tech guru, Silicon Valley 'prophet' Pierre Ruskin, orchestrator of the game that leads children to the house. Ultimately, both gurus are firmly convinced that there is more than one reality, and both are dedicated to reaching it, no matter the cost.

Childhood Trauma as a Point of Divergence

At the heart of The OA and Bandersnatch—amidst all their static and science—are specific instances of childhood trauma, which are identified as the points where the characters' lives began to diverge into multiple pathways. In The OA, that moment is Nina/Prairie's NDE, an experience she's forced to revisit when trying to re-access Nina Azarova's memories. In Bandersnatch, that moment is when the young Stefan spent too long searching for his toy, causing his mother to miss her train and catch a later one, which derailed.

Prairie lost her father and her vision in her traumatic event, and Stefan lost his mother, but both shows give their protagonists the ability to revisit these traumas and, effectively, to undo them, to experience lives in which these moments had never happened. Prairie's moment of recollection and reversal is in a bathtub, where she relives her own drowning; Stefan's is in the reality in which he has the choice to accompany his mother on the fatal train ride.

Black Mirror Bandersnatch (2018) | Train Ending Scene

An Extremely Meta Ending

Bandersnatch not only breaks the fourth wall—it shatters it. In one scene, viewers are literally able to choose whether or not to tell Stefan that his actions are being controlled by something from the future called Netflix.

Then, of course, there's that television set-scene, the moment where the whole illusion collapses and we're faced with the reality of what's happening: all that we're seeing has been filmed in some Hollywood studio. Stefan's therapist is an actor. Stefan himself is an actor. Nothing is real. That same exact idea is at the crux of The OA's finale; in its final scene, Brit Marling and Jason Isaacs call themselves by their real names, effectively annihilating the line between our reality and the one(s) onscreen.

Image via PopBuzz

So, Is Netflix Using the Same Algorithmic Plot for Many Shows On Purpose?

Though The OA and Bandersnatch might be particularly alike, they aren't the only shows on Netflix that revolve around the concept of other realities and alternate, interconnected universes.

Recently, Netflix's Russian Doll made use of a nonlinear view of time, giving its protagonist the ability to transcend death in order to correct her mistakes and—you guessed it—make peace with a childhood trauma, which had to do with blaming herself for her mother's death. The show also uses concepts based on quantum physics to explain its multiple timelines.

The portal from Stranger Things, via Hollywood Reporter

The portal from Russian Doll, via Vulture

Another hit — Stranger Things—also relies on quantum physics-based ideas to explain its Upside Down, a parallel universe that operates similarly to the alternate dimensions in The OA.

The flea and acrobat metaphor from Stranger Things. Image via weheartit

Millie Bobby Brown's character Eleven is also a startlingly similar figure to Brit Marling's Prairie/Nina; both were trapped by scientists for many years, and both emerged from their imprisonment endowed with the ability to create portals between dimensions (and sometimes, to levitate). The list goes on.

It's not that these shows are copies of each other. They all seem to utilize similar plotlines, ones that revolve around suppressed childhood traumas and a quantum-physics-inspired tangle of dimensions. In a way, the shows themselves seem to be parallel universes to each other. In each, the traumas and the multiple realities both unveil themselves about three-quarters of the way through, sparking climactic endings that, ultimately, imply that the bonds between humans are strong enough to transcend time and death.

So what's the draw to the multiverse idea? Is our era of catfishing, fake news, and mediated simulacra making us feel like we're living in many realities once? Are we all just seeking ways to escape our linear lives, to escape the passage of time, or to change the past? Can we all sense that this isn't the only world, that we're not the only ones here (after all, what's religion other than a poetic promise that other worlds and greater forces exist)? Does this subject just make for great television?

Regardless, people are into it. YouTube just announced that it will be creating interactive content like Bandersnatch; Season 3 of Stranger Things will officially drop on July 4, 2019; and Black Mirror's fifth season will also be released this year. It seems like TV's journey through interconnected parallel universes has just begun. (Though of course, it's probably already finished in the universes next to this one).

Eden Arielle Gordon is a writer and musician from New York City. Tweet your best conspiracy theories to her @edenarielmusic.

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TV Features

TV Shows Us the Afterlife: 5 Reasons You're Better Off Dead

Want to contemplate morality and how difficult it is for 7.5 billion people to coexist without murdering each other? That's what TV is for. Also, Daniel Radcliffe is a mess.

Imagine being hit by a bus tomorrow and discovering the face of God is Steve Buscemi.

In that case, you've probably died and gone to the heaven featured in TBS' Miracle Workers, where Daniel Radcliffe plays Craig, a browbeaten bureaucrat at Heaven Inc. With Geraldine Viswanathan playing his new coworker Eliza, the two hope to save Earth from being blown up by God, who Buscemi delivers as an unshaven washout who shuffles around in a house robe.

Time Magazine

If that sounds unpleasant, go back to NBC's The Good Place. For three seasons, Kristen Bell has filled the role of rude Eleanor opposite Ted Danson as the eccentric "heaven architect" Michael. You could also turn to the afterlife represented in Netflix's Russian Doll or Amazon's Forever. Heaven is easy to find right now on TV and streaming platforms.

It's not a new trope, but it's currently more popular than ever. We're attuned to shows that take the unknown chaos that we fear is the afterlife and frame it as a familiar environment. In Miracle Workers, that structure is a corporate office. In The Good Place, it's a quaint small town. Russian Doll plants Nadia (Natasha Lyonne) in a purgatorial New York party, while Forever traps its married characters, June (Maya Rudolph) and Oscar (Fred Armisen), in a boring, suburban routine after their deaths.

Why are we drawn to shows about the afterlife? Perhaps our existential angst over today's political turmoil is piquing our curiosity about moral comeuppance, or maybe we just like jokes about angels being God's bitches. What do we gain from them? In determining which show you should prioritize–whether to simply binge watch or guide your reflections on your place in the cosmos–here's what captures our interest:

1. New perspective on the familiar

A pretentious New York party, the suffocating suburbs, and a downsizing corporate office are among the worst conceivable scenarios for an eternal afterlife. We know that business offices are human rat cages devoid of light and love, but Miracle Workers presents us with angels enduring that forever. Combining the traditions of Dogma and The Office, it not only forces us to re-examine claustrophobic work culture, but it challenges our perceptions of angels as divine intermediaries. They might just be desk jockeys and errand boys.

Similarly, Amazon's Forever depicts the suburbs as a literal hell–or at least a discomforting limbo. Imagine that porch sitting and chatty neighbors are all you have for eternity. The scenario, while impossible, begs you to reconsider whether all your creature comforts are worth the vapid monotony. Would the complacency be worthwhile if you shared that eternity with a spouse? Could you love someone enough to endure that blandness forever?


2. A God figure we can relate to


While Steve Buscemi gives a busted up version of the almighty in Miracle Workers, many shows don't tackle the mind-bending challenge of personifying God. Traditionally, God is boring. As a result, media's representations of God have ranged from boring (looking at you, John Milton, with that lame omnipotent in Paradise Lost), to comical (Morgan Freeman in Bruce Almighty), and childlike (Alanis Morrisette as God in Dogma was truth).

But an absent authoritarian figure is just as familiar to us as a flawed, off-kilter one. In place of God, The Good Place's Michael is an officious heavenly figure far down the hierarchy. In place of all-powerful wrath, he's quirky and unpredictable. He has goals and failures that humanize him, blurring our division between divinity and human frailty.

3. Very, very flawed humans

Any worthwhile show about the afterlife stars terrible people. From Eleanor's unabashed disregard for everyone other than herself in The Good Place to Oscar, the milquetoast husband in Forever, the dead are patently unlikeable. And sure, their overt flaws are too heavy-handed to not foreshadow the characters' transformations, but their unpleasantness makes them immediately relatable.


Miracle Workers takes this a step further by introducing angels as sheltered, boring bureaucrats whose idea of fun is grabbing a hamburger with co-workers after hours. But Craig doesn't even have that. His utter lack of social skills or charisma matches God's defeatism, which primes the show to address the question, "What's the point?"


4. Second chances

Kristen Bell's brashness and Fred Armisen's dreadful deadpan bring home the point of these types of shows: even the most ridiculous, unlikeable people can get a second chance. Likewise, the first episode of Russian Doll is quick to establish Nadia's crass humor and self-destructive habits, as it opens with her reflections on her 36th birthday, questioning if she deserves to still be alive. "I smoke two packs a day," she says. "I have the internal organs of a man twice my age." But trapped in a cycle of death and rebirth, she finds one perk about the afterlife is that you no longer worry about trying to survive. Suddenly, she has nothing to complain about; self-destruction is boring when it's a foregone conclusion.


Who cares about a character trying to improve their lives when they're already dead? Instead, the stakes are about self-knowledge and self-improvement (to the best of these weirdos' limited abilities). Eleanor has to learn to be a good person. Maya Rudolph's character learns to tolerate Fred Armisen's. Craig, the angel, tries to impress his pretty new co-worker, and Nadia investigates why the fuck she can't stay dead. In each case, they rely on themselves as their only point of reference amidst chaos. They either have to eke out a place for themselves or escape their situation using nothing but their own bearings.

5. Friendship


Even if God's a no-show, you shouldn't be an asshole; you have friends to remind you of that. These characters aren't driven by righteousness or religious creed; rather, their relationships keep them motivated. In The Good Place, Eleanor and Chidi are each other's anchors, and together Oscar and June go searching for the upside of being dead in Forever. But not all primary relationships are romantic, as Russian Doll portrays through Alan and Nadia's bond over their bizarre predicaments. As Nadia finds, her emotional connections with others have the power to alter her day the most. Reliving the day over again lets her pay attention to her individual relationships and gives her a second chance to be a friend rather than just a smart-ass.

Our current fascination with life after death isn't rooted in religiosity nor atheism. When we want to contemplate morality and how difficult it is for 7.5 billion people to coexist without murdering each other, that's what TV is for. Our favorite dead people grapple with nihilism, boredom, and Steve Buscemi in a bathrobe as they attempt to save the afterlife from mirroring the flaws of this world.

Meg Hanson is a Brooklyn-based writer, teacher and jaywalker. Find Meg at her website and on Twitter @megsoyung.

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"Russian Doll" is a Binge-Watching Phenomenon

The new Netflix show has millions of viewers glued to their screens.

At a party thrown for her 36th birthday, Nadia Vulvokov (Natasha Lyonne)—a wisecracking, two-packs-a-day smoking software engineer—emerges from the bathroom of her friend's apartment to Harry Nilsson's "Gotta Get Up."

She smokes a coke-laced "Israeli joint," takes home a smug professor for a one-night stand, and, a short while later, in pursuit of her runaway cat, is struck by a car and dies. But Nadia has more lives than your average cat, and so, as Nilsson's up-tempo piano intro plays yet again, she finds herself back in the bathroom at the party. From here on, multiple Penrose steps lead to slapstick deaths, bathroom reappearances, and self-examination in the scenes in-between. Along the way, another death-proof drifter, Alan (Charlie Barnett), teams up with Nadia to try and find a way out of their shared predicament. Together, they retrace their interconnected movements before deep-diving into their respective subconscious.

Nadia is a vintage New Yorker with a mouth so fast and funny that she could easily appear in a classic gun-toting gangster film. To her jilted ex-lover, John (Yul Vazquez), Nadia explains, "Me and cocaine are like oil and vinegar. I'm not good at mixing substances." "Or metaphors," says John. Her riposte arrives on the very next beat. "Did I not say like oil and vinegar? Is that not a fucking simile?"

The birthday party, revisited after each death, is a refreshing depiction of women in their thirties who don't have kids. Rather than the commonplace references to ticking clocks and settling down, illegal remedies and "fuck pile" orgies take precedence in the conversation. "Who likes drugs more than me?" Nadia asks her Sikh dealer, War Dog (Waris Ahluwalia). "You," he replies, before confirming that no one likes orgies more than him. While it's made abundantly clear that Nadia can drug-binge most weekend hedonists under the floorboards, there is no finger-wagging here or interventional leanings. Nadia's unapologetic dishevelment doesn't mean she's without a moral compass, as demonstrated by her close relationship with Ruth (Elizabeth Ashley), an old family friend and mother figure. As Nadia's investigation into the cause of her numerous deaths progresses, however, memories, hindsight, and clarity begin to materialize and her party lifestyle takes a backseat.

Russian Doll shifts easily between déjà vu and jamais vu — the familiar and the eerily unfamiliar — and exposes a raw center with a distinct sense of place. The underbelly of the East Village provides the backdrop for black comedy with a touch of horror. The recurring appearances of Horse (Brendan Sexton III), a homeless man who prowls Tompkins Square Park, expand beyond Nadia's peripheral vision until their successive encounters motivate her gradual unlayering (as the show's title suggests) and the urge to right previously unseen wrongs. This, she hopes, will put an end to reliving the same day and dying in it.

Russian Doll is, by degrees, Natasha Lyonne's story, since she co-wrote the series and directed the final episode. Its premise is informed by her personal experience and inspired by a 2014 NBC pilot called Old Soul, concocted by Lyonne and Russian Doll co-creator Amy Poehler that was never picked up. Fortunately, Netflix, the gift that keeps on streaming, allowed Lyonne, Poehler, and their co-creator Leslye Headland free reign to develop eight episodes without interference or modification. Each half-hour episode makes room for an impressive number of plot twists and quick-on-the-draw dialogue that could only be written by genuinely funny people. But, perhaps most important to the show's success, Natasha Lyonne's natural self-assurance makes it hard to guess where Nadia ends and Lyonne begins.

K. Krombie is a writer, reviewer, and incidental performer living in Astoria.

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BOX OFFICE BREAKDOWN | Romance and crime fighting pair well

MAY 17TH-19TH | What's coming to theaters this weekend?


A bad super hero, a bad book club, but a good love story? Might be all you need this weekend at the movies.

In Popdust's column, Box Office Breakdown, we aim to inform you of the top flicks to check out every weekend depending on what you're in the mood to enjoy. Looking to laugh? What about having your pants scared off? Maybe you just need a little love? Whatever the case may be, we have you covered. Take a peek at our top picks for this week…

Deadpool 2

It's back and just as wild as the first time around, though you'd never get that from the description online. The world's worst super hero is back and this time in order to take on the troubles of the world, he needs a little help from his friends. He works to assemble a team that will be able to help him fight off trouble in the city (and of course still look young and hot in due time as the franchise continues). Get ready for as much action as there are laughs in this sequel.

Purchase Tickets for Deadpool 2

NR | Running Time 2hr | Marvel Entertainment | Director: David Leitch

Starring: Josh Brolin, Morena Baccarin, Zazie Beetz, and more!

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