A family comedy movie featuringRyan Reynolds has found considerable success on streaming after reaching a broader audience. Thanks to its strong viewership on Paramount+, IF has managed to rank high on streaming analytics charts. Notably, the film, helmed by John Krasinski, premiered in theaters on May 17, 2024, to mixed critical reception.
Ryan Reynolds’ IF is ranking high on Paramount+’s streaming charts
As of January 16, 2026, Ryan Reynolds’ family comedy movie is doing well on Paramount+.
IF is the #7 movie on the streaming platform, with 70 popularity points on FlixPatrol. It is also ranked either #7 or #6 in several international territories.
On Rotten Tomatoes, IF has a Tomatometer score of 57 percent but a robust Popcornmeter score of 85 percent. Meanwhile, Metacritic, which uses a weighted average to determine scores, gave the film a Metascore of 46, based on 39 critical reviews, and a user score of 6.2, drawn from 151 user ratings.
Following its release, IF also grossed $190.5 million worldwide against a reported budget of $110 million. (via Box Office Mojo)
The live-action fantasy comedy follows Bea, a 12-year-old girl who goes to live with her grandmother Margaret in the latter’s apartment while her father goes to the hospital for heart surgery. Her life turns upside down when she realizes one day that she can see imaginary friends of other children.
Bea later meets a man named Cal, also capable of seeing the same imaginary friends. The two subsequently work together to place the friends with new children, as the ones they were originally friends with have grown up and moved on without them.
In addition to directing the film, John Krasinski also wrote the screenplay and co-produced with Ryan Reynolds, Andrew Form, and Allyson Seeger.
The film includes a mix of live-action actors and voice actors. The live-action cast includes Reynolds, Krasinski, Cailey Fleming, Fiona Shaw, Alan Kim, Liza Colón-Zayas, and Bobby Moynihan. Meanwhile, the voice cast includes Steve Carell, Phoebe Waller-Bridge, Awkwafina, Emily Blunt, George Clooney, Matt Damon, Bradley Cooper, and Blake Lively.
Ryan Reynolds and Amazon MGM have teamed up to develop a remake of Thunderbolt & Lightfoot, a 1974 action comedy that starred Clint Eastwood and Jeff Bridges.
Reynolds is eyeing to star in the adaptation and will produce alongside his team at his Maximum Effort production banner.
Reynolds is also collaborating on the script with writers Enzo Mileti and Scott Wilson, a writing team who worked on season four of comedic crime show Fargo. Shane Reid, who edited Reynolds Deadpool & Wolverine, will make his directorial debut with the project.
Thunderbolt & Lightfoot starred Eastwood as a bank robber disguised as a preacher and on the run from his old gang, who erroneously believe he double-crossed them. When he meets up with Lightfoot, a low-level street thief played by Bridges, the two come up with a plan to team with the old gang for a new bank job. Nothing goes as intended.
The movie was the directorial debut of Michael Cimino, who would later go on to win a best directing Oscar for his 1978 Vietnam War drama The Deer Hunter. Cimino also wrote the script for Thunderbolt & Lightfoot. Bridges earned an Academy Award nomination for best supporting actor for his performance.
The project could be an ideal vehicle for an A-lister two-hander. As some have suggested, it could offer a possibility for a reteaming of Reynolds and Hugh Jackman, something for which some have been clamoring.
Jeff Bridges, Clint Eastwood in ‘Thunderbolts and Lightfoot’ (1974)
Everett
Mileti and Wilson worked as writer and consulting producers on FX’s drug crime show Snowfall and were staff writers on the Frank Grillo-starring MMA drama The Kingdom. The duo is repped by WME and Untitled Entertainment.
Reynolds this week signed on to star as the villain in Netflix’s live-action adaptation of Eloise, based on the children’s book series written by Kay Thompson and illustrated by Hilary Knight, which he and his Maximum Effort cohorts are producing. He is also a producer on John Candy: I Like Me, the documentary on the late great comedic actor that premiered at this year’s Toronto Film Festival and now streams on Amazon.
Amid Blake Lively’s Public Feud With Justin Baldoni, the details of a proposed contract have been revealed. Us Weekly shared that the actress was supposed to be paid over 1.7 million US Dollars in the said agreement. Moreover, apart from her salary, massive bonuses were proposed for each Box Office level reached by It Ends With Us, as well as payouts for nominations and wins at prestigious award ceremonies.
Apart from her ‘fixed compensation’ of almost 2 million USD, the Gossip Girl actress was expected to be paid 10% of the film’s gross proceeds, and that is not including the other add-ons that would come into play with the film’s theatrical performance. These include a 250K USD payout over their earnings of three times that of the ‘direct cost’ of the film’s production. Similar payments were expected at five times and other milestones reached at the box office.
That wasn’t all; Lily Bloom was expected to be her direct ticket to making bank. 100K USD for an Oscar nomination and 200K USD for a win, with a win guaranteeing only the latter. A Golden Globe nomination would earn her 75,000 USD, with a win bringing in 100,000 USD. It did not end there, as a SAG nomination was priced at 50,000 USD and 75,000 USD for a win.
While the majority of the filming was done in New Jersey, Blake Lively, a private jet, was factored in for Las Vegas shoots. They would also include the flying expenses of her four children with Ryan Reynolds, alongside two nannies, her assistant, and her own security team. The assistance was offered at 1,500 USD, alongside a private driver, not to mention 1000 USD/ week costs for training and meal expenses.
Despite the extremely lucrative contract, it has been reported that the copy obtained was merely a draft and not signed by Blake Lively, after all. It is not known what exact deal the two parties reached and if it was more exuberant than these numbers.
The big reason we have a Deadpool film trilogy is because of leaked test footage for the first movie back in 2014. It’s since become generally agreed upon that leading man Ryan Reynolds probably had something to do with it, and now the actor himself has gone and said he leaked it, yeah.
Talking to Entertainment Weekly at TIFF, Reynolds said the leak may have been “cheating,” but done with the best of intentions. “I think I was onto something that people would be interested in,” he told the outlet. As he and director Tim Miller went about shooting the footage, Fox became squirrely about doing an R-rated superhero movie starring an obscure character, particularly one they’d already done badly once before.
For Reynolds, the appeal of Deadpool was that he wasn’t an upper-tier character, and his fourth wall-breaking self-awareness. “It was kind of new,” he said of the character’s demeanor. “The test footage…really was a case study of how this could work. And they just wouldn’t do anything with it.” When said footage leaked, he recalled thinking about “the asshole [that] leaked it, and I’m looking at the guy in the mirror brushing my teeth. And I’m like, ‘Dude, what have you done? This could be punishable by law!’ But the internet forced the studio to say, ‘We’re gonna make this movie,’ and 24 hours later, that movie had a green light.”
Since the first Deadpool, Reynolds has become a key creative force in the character’s live-action outings, which have gone on to make a lot of money and help start a wave of R-rated superhero material. Now, people know Deadpool like they do Spider-Man (and both may be in the next Avengers movies), and has become the actor’s definitive role. So congrats to Reynolds for his foresight and hustle?
It was date night for Blake Lively and Ryan Reynolds as the loved up couple stepped out for a second consecutive evening to support their close friend Taylor Swift at her Eras Tour in New Orleans.
The glamorous duo, who are known for their tight-knit friendship with the pop superstar, made their way to the Caesars Superdome on Saturday night, proving they simply couldn’t get enough of the electrifying show.
Following their attendance on Friday, Blake and Ryan returned for another night of fun, and the pair certainly brought their A-game, looking every bit the adored Hollywood couple.
A fan-captured TikTok video quickly made its rounds online, showing Blake, 37, swaying and singing along to Taylor’s hits, her radiant smile lighting up the crowd. With Ryan, 48, by her side, the duo shared sweet moments, including a little PDA that had fans gushing over their undeniable chemistry.
Blake was every bit the style icon she’s known to be, stepping out in a chic black long-sleeved blouse paired with a leather mini skirt that showed off her enviable figure.
Ryan Reynolds and Blake Lively enjoyed a date night
But it wasn’t just her stylish outfit that had fans talking — the mother of four also embraced her Swiftie spirit by donning numerous beaded friendship bracelets on each wrist, a nod to the beloved Eras Tour tradition. Her accessories didn’t stop there; she added a touch of playful glam with a sparkling purse shaped like a microphone, perfect for the occasion.
Meanwhile, Ryan kept things classic and understated, opting for a sleek black button-up shirt, letting his wife take center stage with her dazzling ensemble.
The couple was accompanied by one of their daughters, who joined in on the fun wearing an adorable sparkly pink skirt paired with a matching bucket hat. It was a heartwarming family affair, showcasing the couple’s love for both music and spending time together.
The internet was abuzz shortly after the video surfaced, with fans expressing their excitement over spotting the beloved couple enjoying their night out. “This is adorable,” wrote one TikTok user in the caption, while another chimed in, “YOU SAW THEM?!” adding to the flurry of delighted reactions.
Swifties everywhere were quick to notice Blake’s commitment to the concert’s bracelet-swapping trend, with one fan pointing out, “Blake having a bracelet on each wrist tho.” The sentiment was clear: seeing the couple out and about, having fun at a Taylor Swift concert, was a treat for fans.
It wasn’t just Saturday night that had people talking. Blake and Ryan also made headlines the night before, as they attended the first of Taylor’s New Orleans shows on Friday.
Taylor Swift performs onstage at Caesars Superdome on October 25, 2024 in New Orleans, Louisiana
For night one, Blake went for a more casual but no less stylish look, rocking a white blouse with denim shorts and a pair of chic boots, perfectly blending laid-back cool with a hint of concert glamour. Ryan, always one to complement his wife’s style, was photographed in a simple yet sophisticated white shirt. The couple’s effortless style made it clear why they’re one of Hollywood’s favorite pairs.
Their presence at the Eras Tour wasn’t a solo affair — one of their daughters also joined them on Friday, enjoying the show just as much as her famous parents. The sight of the little one singing along to Taylor’s iconic tracks was undoubtedly a sweet family moment, and one that fans were quick to capture and celebrate online.
Actors Ryan Reynolds and Blake Lively with daughters James Reynolds and Inez Reynolds
Blake and Ryan’s friendship with Taylor Swift has been well-documented over the years. From supporting her albums to having their children’s names — James, Inez, and Betty — cleverly featured in Taylor’s song “Betty,” the bond between the trio is strong. It’s no surprise that Blake and Ryan would make a special effort to be there for Taylor’s tour, especially in such a vibrant city like New Orleans.
The couple, who tied the knot back in 2012, are known for their playful banter, mutual support, and, of course, their four adorable children: James, 9, Inez, 8, Betty, 5, and Olin, who recently turned 1.
Their family life is often shared in snippets on social media, where fans get to see the fun-loving, down-to-earth dynamic that makes Blake and Ryan so relatable despite their superstar status.
Deadpool & Wolverine‘s record-smashing box office streak hit another milestone this weekend when Marvel Studios and Disney’s R-rated film surpassed Barbie to rank No. 12 on the list of all-time top-grossing films at the domestic box office, not adjusted for inflation.
Over the weekend, Deadpool & Wolverine took in another $679,000 after Disney upped the film’s theater count from 990 locations to 1,500 theaters nationwide in a final push before the pic’s theatrical run ends. The Ryan Reynolds–Hugh Jackman crowd-pleaser finished Sunday with a domestic total of $636.3 million, compared to the $636.2 million haul of Greta Gerwig and Warner Bros.’ acclaimed meta-comedy.
Barbie, however, still out-ranks the Deadpool threequel globally with a worldwide haul of $1,446 billion. The PG-rated, family-friendly pic is No. 15 on the all-time list of top-grossing films at the global box office.
Deadpool & Wolverine is likewise a worldwide sensation, and is the top-grossing R-rated film of all time. Last weekend, Star Wars: Episode VIII — The Last Jedi was knocked out of the top 20 when Deadpool & Wolverine took its place. As of this weekend, its global gross stands at $1.336 billion.
It’s just one of the many box office records the meeting of Marvel’s most misanthropic superheroes broke since its summer release, including the biggest opening weekend for an R-rated movie ($211 million). As for the Marvel Cinematic Universe, Deadpool & Wolverine is the seventh-highest-grossing film out of 31 releases at the worldwide box office, and fifth-biggest domestically.
Deadpool & Wolverine is also the second-biggest film of 2024 to date behind Pixar and Disney’s Inside Out 2, which has earned $652.9 million domestically and $1.694 billion globally.
Jason Kelce has apparently had it with Taylor Swift’s fans. The retired NFL player accused the billionaire singer’s fanbase of election interference this week, saying that they’re responsible for forcing him into an “agonizing review” of the 2005 coming-of-age film Sisterhood of the Traveling Pants. But just a few days after Kelce’s grumpy announcement, his brother was spotted out with Blake Lively, one of the film’s stars. Coincidence? Perhaps!
The elder Kelce unleashed the allegation this week on the New Heights podcast, the Wondery-based audio product he co-hosts with his brother, Kansas City Chiefs tight end Travis Kelce. The younger Kelce is better known to the non-NFL-curious as Taylor Swift’s boyfriend, one of the reasons their goofy, loose, and football-centric podcast has become one of the most-listened in the US.
In addition to gridiron events, family reminiscences, and chatter about important matters such as chicken wings (boneless=bad) and doughnuts (the cake variety are “a waste of time”), the brothers have launched a “film club” for which subscribers vote in tiered polls to choose a movie the pair will watch and review. The first such movie to triumph in the poll was Sisterhood of the Traveling Pants, the heartwarming drama that starredBlake Lively, Alexis Bledel, Amber Tamblyn, and America Ferrera.
The elder Kelce wasted no time in expressing his disappointment. “You will hear the agonizing review of a movie about pants and sisterhood, two of my least favorite things,” Jason complained as his brother laughed. “The Swifties freakin’ dominated the poll.”
“I’m excited to watch this movie,” Travis said in response, a statement Jason met with disbelief. “You’re honestly excited to watch this movie,” he said flatly. “What in the title makes you excited to watch this movie?”
“Jason, I don’t let the title dictate what gets me excited about it,” Travis responded patiently. “Do you know anything about this movie? What is this movie about?” Jason continued to troll. “I don’t know,” Travis responded. “It has Blake Lively in it, and she’s cool.”
Ryan Reynolds and Blake Lively are seen on October 11, 2024 in New York City.
XNY/Star Max
It’s a good thing Travis responded so smoothly to his brother’s objections, as just a few days after the podcast dropped, he ended up on a dinner date with Swift, Lively, and Lively’s husband, Ryan Reynolds. The four were spotted Friday at The Corner Store, a recently-opened restaurant in New York’s SoHo neighborhood with a menu described as “kid food for adults.”
Its offerings likely appealed to Kelce, who also admitted on this week’s podcast that he is too squeamish to eat “anything with a casing,” Creole or Cajun foods including jambalaya, or thicker curries. “I have a mental block,” the 35-year-old said, about “food that looks like it came out of a butthole.” Does that mean The Corner Store’s filet mignon tartare was out, or its spinach artichoke dip? One can only assume so.
Let’s start with something about me: I hate Colleen Hoover books. I despise how TikTok convinced the world that her writing was revolutionary, her plot lines intricate, her style original. It’s a step above airport romance novels in my opinion…so when one of her hit novels, It Ends With Us, was adapted to a movie starring Blake Lively and Justin Baldoni, I was disappointed but not surprised.
And to make matters worse, I was constantly reminded of this fact because it was filmed on my street in Hoboken, New Jersey…but enough about me. It Ends With Us finally hit theaters on August 9, and the press tour has been nothing short of catastrophic.
We have the internet up in flames ready to burn Blake Lively at the stake for a multitude of reasons (including, but definitely not limited to) her fashion sense, her “pick me” attitude, or her dismissive commentary on domestic abuse, which is a main focus of the film itself. Not only that, but there’s clear tension between Justin Baldoni and the rest of the cast, who stumble over cute press questions like “What was it like working together?”
It’s all very reminiscent of Olivia Wilde’s Don’t Worry, Darling, which starred Florence Pugh and Harry Styles, and was riddled with obvious cast member drama from the beginning…yet, it’s less hilarious and more annoying. But let’s break down the It Ends With Us press tour drama before you get even more confused.
What’s Going On With The It Ends With Us Cast?
Let’s put it into perspective. Things have gotten so bad that director and actor, Justin Baldoni, has hired the same PR crisis manager (Melissa Nathan) that both Johnny Depp and Logan Paul have used. As the press tour surged on, fans began to notice Baldoni was absent from group press events as reports swirled about disputes between himself and Lively during post-production.
If you see Blake Lively and Justin Baldoni on the same couch together during this press junket, then consider yourself lucky. They’ve split up their press tour with respective outlets: Baldoni gets Access Hollywood, Today, ET!, and GMA; Lively gets Vogue, Capital FM, and CBS Mornings.
Sources told The Hollywood Reporter that disagreements arose during the final cut while filming. Lively, a producer on It Ends With Us, had scenes she wanted and even commissioned her own cut of the film. However, Forbesassures this can happen without indicating a feud.
Fans have been reading in between the lines during press interviews. Lively has made a few interesting comments furthering the creative control rumors. At one point, she even mentions her husband, Ryan Reynolds, wrote a scene in the film, which some believe was the start of their fight. Then, in another interview, Lively shares she got in a fight with an unnamed person about removing a Lana Del Rey song from the film.
However, given the film’s references to domestic violence, this Lana Del Rey song could have been considered controversial. “Cherry” details loving a man despite all of the hard times in an extremely toxic and unhealthy relationship. So, if Baldoni was the one Lively had to fight, he may have had a point.
In his own interview with Elle, Baldoni admits to tensions on set: “There are all these things that happen every day on set, there’s always friction that happens when you make a movie like this. Then at the end of the day, it’s that friction, I believe, that creates the beautiful art,”
Cast member Jenny Slate adds fuel to the fire by dodging questions about Justin Baldoni. Slate told a reporter that it “must be difficult working two jobs” when asked what it was like working with him. When Baldoni was asked about Lively, he claimed it “seems like she’s ready to direct.”
There’s been nothing but shade, and apparently, the movie isn’t even that great. What I think everyone can agree on is this press tour needs to end.
Even if Ryan Reynolds insisted upon wielding NSYNC’s “Bye Bye Bye” (and its signature choreo) as the song for the opening scene of Deadpool and Wolverine, Blake Lively (a.k.a. Mrs. Reynolds) has seen fit to remind people that her millennial-oriented loyalties are forever with Britney Spears. Even when she “lightly” shades Lively for pulling an Ambular in Clueless by “going through her laundry.” Indeed, lately, and at their own peril, millennial women have taken a shine to paying major homage to one, Miss Spears.
It started earlier this summer with Halsey releasing what amounted to a bad cover version of Spears’ 2000 hit, “Lucky.” Although Halsey assured fans that she, of course, got Spears’ permission to use the song and “pay homage” to it with an accompanying video, Spears posted a rather unfavorable take on the single by saying, “For obvious reasons I’m very upset about the Halsey video. I feel harassed, violated and bullied. I didn’t know an artist like her and someone I looked up to and admired would illustrate me in such an ignorant way by tailoring me as a superficial pop star with no heart or concern at all. I have my own health problems which is why I took down my IG account yesterday. I will definitely be putting it back up to show I CARE. I’m speaking with my lawyers today to see what can be done on this matter. It feels illegal and downright cruel.”
Soon after, the post was deleted and replaced by Spears’ insistence that the condemnation was merely “fake news !!! That was not me on my phone !!! I love Halsey and that’s why I deleted it 🌹 !!!” Whether or not Spears’ phone was possessed by another person or another one of Spears’ personalities is at one’s discretion. However, based on this other recent “emotional flare-up” on Spears’ part, it appears as though she may very well have been the true culprit behind the Halsey shade. This based on the fact that, after Blake Lively showed up to the August 6th premiere of It Ends With Us wearing the Versace butterfly dress that Spears famously sported in 2002, Spears felt obliged to respond “indirectly” by, days later, posting a video of herself wearing a riff on the same dress (albeit shorter and differently cut) with the caption, “UPDATED VERSION OF MY 2002 VERSACE DRESS 👗 !!! I LIKE IT WAY BETTER. SHOWS MY LEGS !!! 💅🏻👗🌷🌷.” She then included the post-script, “I’m no @blakelively but I like it.”
Of course, while some might try to insist Spears meant “no shade,” her dick-swinging behavior of late was on-brand for her post-conservatorship, no-fucks-given vibe. (Besides that, why choose to make mention of the same dress and assert her dominance over it at the exact moment after Lively chose to wear it?) In point of fact, Spears has come a long way from being self-effacing and unwilling to take credit for all that she’s done for and contributed to music and pop culture, suddenly suffering no fools when it comes to “tributes.” Regardless of how effusive they might be. This even includes Lively’s gushing Instagram story post directed at Spears upon donning the dress: “Today’s mood. The ultimate queen who made us all want to sparkle and write and share our stories. Britney, us millennials all have a story of a moment, or of years that you made us want to shine and inspire awe, with strength, and joy and immensely hard work. Thank you for your example and your contribution to women telling their stories. So excited about your biopic and all you have to come.” Naturally, this sort of “love letter” to another “stronger than yesterday” woman is befitting of somebody who is known, apparently, as a “crown straightener” a.k.a. “a woman going around straightening all the women’s crowns around her.”
At the premiere itself, Lively continued to rave, “It’s Britney’s actual dress. It should be in the Smithsonian or the Met [instead, it was available via Tab Vintage]. But it’s on me. I feel so lucky.” Ah, that word—which also serves as the song title that Halsey recently “borrowed.” So yes, it would appear that the fellow millennial women showing Spears so much love of late aren’t exactly getting it in return in quite the same maudlin way, with Lively also noting at the premiere, “This dress meant so much to me because of what she meant to me.” Maybe, in this case, Spears was offended by use of the past tense, with Lively continuing, “Like, she was just somebody who represented, like, love and beauty and youth and hard work and determination and strength, and she was in touch with her sexuality and her delicacy and she just sort of represented it all.” To which one must ask: then what does she represent in the present tense?
During what some would like to call her “heyday” (a generally off-putting word used to signify that one’s prime is over), Spears wore the dress to Versace’s presentation of the 2003 women’s spring/summer collection in October of 2002, shortly after her very public breakup with Justin Timberlake—the one that, as she described it, turned her from a pop princess into a “harlot who’d broken the heart of America’s golden boy.” This stated in her memoir The Woman In Me. A book that also takes pause to mention what the Versace butterfly dress and the trip to Milan that year meant to her, with Spears stating, “That trip invigorated me—it reminded me that there was still fun to be had in the world. That party was really the first thing I did to put myself out there after the breakup with Justin—on my own, innocent.” A far cry from her declaration of being “not that innocent” in 2000. In any case, perhaps Lively choosing to home in on that particular aspect of her sartorial iconography felt, somehow, like an invasion of what the form-fitting gown signified to her: a newfound liberty—emerging from a chrysalis after being imprisoned in bubblegum pop/Timberlake land.
At the It Ends With Us premiere, Lively also mentioned, “When this dress was available I was like, ‘Yes, I need it!’ I’ve had it for almost a year now and I’ve been saving it for this.” Not just because one of Spears’ songs appears on the soundtrack, but because it does have a certain “floral-themed” quality to it that correlates with Lively’s flower shop-owning character, Lily Bloom. And while a few might question the relevance of the movie using Spears’ 2003 single, “Everytime,” during the ending credits of the film (performed, instead, by Ethel Cain), any millennial girl can tell you that the song was aimed at Timberlake. At the time when their relationship reigned supreme in the hearts and minds of America, the aftermath of that relationship proved just how, that’s right, toxic (to name another Britney single) the dynamic actually was. Much the same as Lily and Ryle’s (Justin Baldoni) in the movie. Or Lively and Justin Baldoni’s behind the scenes of making it.
In any event, like Halsey, Lively wasn’t deterred from continuing to express her love for Spears even after the “misunderstanding,” “hearting” Spears’ post about the updated version of her dress (the caption, in typical Spears style, was later deleted). A supportive move (in the wake of having cold water dumped on her enthusiasm) that was almost as uncaring and unbothered as Halsey saying, after Spears (or her “handler”) publicly declaring her disdain for “Lucky” 2.0, “I love Britney!!!! I always have and always will[,] you were the first person who ever made me realize what it means to feel inspired. And you continue to inspire me every day.”
Because, no matter what Spears tries to do to deter her original millennial fanbase, there is, evidently, no behavior she can engage in that would ever turn them away from her often uncouth responses to their expressions of love. Besides, when you’ve got a territorial dick to swing, you’ve got to swing it.
Blake Lively has managed to pull off the impossible. It used to be rare for a television star to make the crossover to movie stardom. From George Clooney to Will Smith, few actors in the 90s pulled off that feat. And while it’s a bit more common now, only a select group have soared from teen drama to A-List status.
In recent years, we can point to stars like Zendaya, Sydney Sweeney, and Charles Melton as proof that there’s life beyond the soapy high school drama. But let’s be honest: they’d be nothing and nowhere without the original cast of Gossip Girl.
The 2000s drama was ahead of the curve. Shows like Succession and White Lotus have taken up its mantle by commenting on the lives of the elite from the inside but those prep school kids blazed the trail. And leading the pack, forever changing what we think of Grand Central Station, is Blake Lively.
Decades later, she’s still on top. She’s a beloved A-Lister with an enviable marriage, an even more enviable friend group (Taylor, if you’re looking for more besties look no further), and a thriving career.
But how did she go from preppy headbands to Hollywood royalty? And, even more recently, why does her career feel like it’s always on an insane upward trajectory? Especially when, if we have to admit it, she’s not the greatest actress around. Likability and beauty can get you far — but Blake’s career is astounding. Is she really all that or is she just… really pretty?
Blake Lively’s Rise to Fame
Before she was Blake Lively: Hollywood Icon™, she was still the coolest girl on our screens. Her role in The Sisterhood of the Traveling Pants was pivotal for millennials everywhere. Alongside America Ferrera (Hey Barbie!), Amber Tamblyn, and Alexis Bledel, this ultimate girl gang rivaled her current Swift squad. We all wanted to be them. We all wanted to wear her pants.
She retained that mantle of being unattainably cool in her pivotal role: Gossip Girl.
As Serena van der Woodsen, Lively became the ultimate It Girl. Just like her character, she was the epitome of elite 2000s girlhood. She was like Paris and Nicole with an old-money sophistication. She was all bandage dresses and blowouts both on screen and off. Who didn’t try to recreate at least one of Serena’s outfits — and with disastrous results! — in the show’s heyday?
Post Gossip Girl, Blake faced the stingy choices available to young female stars once their adolescent drama rolled its final credits. For women, the desire to grow up in the public’s eyes leads to a string of sexualized roles. Or, the need to branch out manifests in less-than-successful career pivots — sorry to Leighton Meester’s one song.
While Blake didn’t go any of these routes, she didn’t make the splash she yearned for, either. She did a string of subpar movies that are not worth the watch. She starred as a perpetually beautiful woman who didn’t age in The Age of Adaline — kind of a reverse Benjamin Button except her biggest problem was staying hot forever. Then she starred in the clunky, Gone Girl-esque thriller A Simple Favor alongside Anna Kendrick. Though critics panned it for its nonsensical plot, confusing characters, and flat acting, it found cult fans on streaming and is even an iconic role for many fans — even recently announcing a sequel (we’ll get to that).
She also had forgettable roles as the hot love interest in films like The Town, a cult Boston crime film for which she put on an okay Boston accent, and Savages, a movie recently revived by Netflix.
As her most notable works post Gossip Girl, this isn’t the most robust resume. Yet Blake has retained A-List status. I wouldn’t call her an It-Girl, she’s not out partying or having abrat summer, but every time she steps out, she makes headlines. At this point, she’s known as much for her idyllic marriage with Ryan Reynolds and her friendship with Taylor Swift. Her daughter even has a feature in Taylor Swift’s “Gorgeous” — probably a bigger career credit than anything Blake has appeared in since Gossip Girl.
Meanwhile, many of her Gossip Girl castmates have found success beyond the series. Penn Badgley stars as the creepy serial killer Joe in Netflix’s You. As one of the streamer’s biggest shows, Penn has been catapulted back into the hearts of audiences everywhere — even if his character isn’t the typical heartthrob. Chace Crawford is subverting his pretty-boy looks in The Boys on Amazon, another smash hit series. His character, The Deep, is disturbed and dumb, and played with a brilliant blend of criticism and compassion by Crawford, who doesn’t merely rely on his looks … though he definitely could.
Not to mention her Sisterhood co-star America Ferrera starring in Barbie, the hottest movie of last summer, and being nominated for an Academy Award. Not her first award buzz, never forget Ferrera’s Emmy-nominated turn as Betty Suarez in Ugly Betty, one of the most addictive shows of the 2000s.
With everyone else in her orbit going on to transcend their roots and prove their actual talent, why hasn’t Blake done the same? And however has she managed to stay the most relevant? So the question is: Is she actually a solid actress, or are we all just distracted by how outrageously gorgeous she is? It’s like when your crush says something and you laugh even though it wasn’t funny. Are we all just crushing on Blake Lively?
Blake Lively Is The Queen of the Met Gala: Why did she skip Met 2024?
Testament to her enduring A-List status, Lively is one of the people’s favorites at The Met Gala, which she generally attends with her husband year after year. As one of the biggest and most exclusive annual events on the planet, only a handful of celebrities are invited to the Met steps each and every year. Blake is one of the lucky few.
Usually, the invite list is determined by who was most relevant that year. Whose press tour dominated culture and fashion headlines? What musicians were everywhere? Who were the industry It-Girls? Lively hasn’t fit that bill since the 2010s, yet there she is, smiling on the Met Steps each and every year.
It makes some sense when you consider how viral Lively’s looks go every year. She’s an easy muse — so designers never miss when dressing her. Therefore her absence at the 2024 Met Gala was remarkable. Many were hoping she’d revive the success of her most memorable gown from the Heavenly Bodies exhibit. But alas, nothing. Some speculated a falling out with Anna. Others, another pregnancy. Or was Blake finally just … uninvited?
Turns out, she was just busy being a mom and working on her various projects. I’ll admit, I was skeptical when I heard this. What projects? Lively’s biggest projects are The Met and Kansas Chief’s games. Sometimes I think she’s as much of a nepo bestie as Travis Kelce is a nepo boyfriend. But I recently ate my words. Blake Lively has a stacked Q2 — proving we too can finish the year strong even if we were lagging in the first half.
Blake’s Been Busy: Everything Blake Lively has been up to in 2024
So what are all these projects Lively is so busy with? Surprisingly, a slate of blockbuster films and a brand new business. She’s already embarked upon various press tours, which is why she’s everywhere right now.
Her most prominent, and controversial, venture for the year: starring in the adaptation of Colleen Hoover’s blockbuster It Ends With Us. This BookTok favorite is divisive to say the least. While Colleen Hoover’s genre of easy-to-read romantic fiction went viral, the literati aren’t a fan. The main point of contention: the writing is stinko. But to each their own. And on this particular book, Hoover’s critics are accusing of profiting from abuse and trauma because the film romanticizes an abusive relationship.
Yet, the power of BookTok compelled the studios to adapt this novel into a big budget movie starring Lively alongside Justin Baldwin, known for Jane The Virgin. For a minute, thanks to last year’s succession of strikes, it looked as though the movie might be scrapped. Call it Lively’s luck, but production continued against all odds and here we are: moments away from its big premiere.
Watch the Trailer for It Ends With Us here:
But that’s not the only press tour Blake is on. She joined her husband Ryan Reynolds on the press tour for Deadpool and Wolverine, even upstaging Reynolds and his co-star Hugh Jackman with her look for the final premiere.
Alongside Gigi Hadid, she appeared on the red carpet at Lady Deadpool. Little did we know, this was a hint of things to come. In case you forgot (I definitely did) Lively had a brief role as Lady Deadpool in the canonically awful Green Lantern films. She kind of reprised the role as the voice of Lady Deadpool in this new movie — just one of many cameos and Easter eggs in Marvel’s latest bloated action flick.
When not campaigning for wife-of-the-year, bestie of the year, or promoting It Ends With Us, she’s been filming the much-awaited sequel to A Simple Favor. She and Anna Kendrick have reprised their roles: mysterious Hot Mom (Lively, obviously) and Bored Mommy Blogger (Kendrick in an abundance of floral sundresses and wedges).
This sequel comes so long after the original because, despite the initial bad reviews, it found another life on streaming platforms. So, get ready to comfort-watch or hate-watch when it comes out — I’ll be doing both.
But Blake isn’t only trying to pump some much needed life back into her acting career. She’s enetered her Business Mogul Era. She’s already founded the brands Betty Buzz and Betty Booze and now she’s branching into beauty. Known for her scorching flowing locks, why wouldn’t she make a haircare brand?
The collection is called Blake Brown Beauty after her maiden name — which Reynolds joked he only just found out. Priced at $25 and under, Blake Brown Beauty is launching exclusively in Target to corner the affordable haircare market. The line consists of shampoos, masks and styling product. If there’s one thing the world needs more of, it’s celebrity beauty brands, right?
Promising to give the world that Blake Lively shine, the brand is a departure form many DTC celebrity beauty ventures, such as Cecred by Beyonce, Rate Beauty by Selena Gomez, or Hailey Bieber’s rhode. Instead, Blake is doing what she does best: going for mass appeal. It’s worked so far, might as well bet the house (or the hair) on it. But let’s be real, unless her shampoos come with a personal stylist and a Hollywood paycheck, we might just be setting ourselves up for disappointment.
This approach is similar to another celebrity whose success Blake takes major cues from: Jennifer Aniston. Before there was Serena, there was Rachel. From inspiring trends to becoming the people’s princess, Aniston and Lively have a lot in common. Namely that they’ve built gigantic careers on an average amount of talent. Pretty privilege is really kind to some.
Now, I’m no hater. I love looking at beautiful people as much as the next person. But as we brace ourselves for a Blake resurgence, someone has to say it: she’s prettier than she is talented.
The truth is, Blake Lively, like Jennifer Aniston, has found her niche. She’s good at being likable, at being the girl next door (if the girl next door lived in a mansion and was married to Deadpool). And in Hollywood, that’s a skill in itself.
So, is Blake Lively overrated? Maybe. Is she the second coming of Meryl Streep? Probably not. But is she good at what she does? Absolutely.
At the end of the day, Blake Lively is like that really pretty, really nice girl from high school who you want to hate but simply can’t. She’s not changing the world, but she’s not trying to. She’s just out here, living her best life, making us all wish we could pull off headbands and making Ryan Reynolds Instagram posts slightly more tolerable.
So here’s to you, Blake Lively. You may not be perfect, you may not be revolutionary, but damn it, you’re doing your thing. And sometimes, that’s enough.
So while I won’t be tuning into her latest slate of films or buying her beauty brand, I’ll be enjoying her press tour simply for the opportunity to decide which of her looks hit, and which of them miss.
Madonna hasn’t been shy about wanting her music catalogue to be appreciated by “the next generation.” In a 2022 interview with Variety, she even stated as much explicitly: “I’m just looking for interesting, fun ways to rerelease my catalogue and introduce my music to a new generation.” And yes, that was the same interview during which she also added that she had no intention of selling her back catalogue to anyone (as a slew of other “legacy artists” have done of late) because, as she remarked, “Ownership is everything” (an aphorism that has decidedly neoliberal overtones—something Taylor Swift can obviously get on board with).
As for funneling her music into the ears of a younger generation, it goes without saying that she’s been a fairly noticeable TikTok proponent, engaging with the various trends and challenges of the moment. In 2022, Madonna even experienced a viral blip on the app with, of all things, an unreleased demo called “Back That Up to the Beat” (which was initially composed during her Hard Candy era before making it onto 2019’s Madame X as a bonus track). But her most “interesting” method of reaching a new generation, of late, has been to license “Like A Prayer” for use in Deadpool & Wolverine, the third installment in the Deadpool series of films starring Ryan Reynolds.
In terms of how that particular single came to be such “a thing” for the movie, Reynolds explained during an interview for Live with Kelly and Mark, “‘Like A Prayer’ has been stuck in my head for six years with respect to this movie, and its application—how we use ‘Like A Prayer’ in the movie is exactly what I’d been thinking about for six years. The problem [was], like, I put it in the script, I built stuff around it and I hadn’t yet asked for permission to use it.” In another interview discussing the song’s use, Reynolds added, “It was a big deal to ask for, and certainly a bigger deal to use it. We went over and met with her and showed her how it was being used and where and why.” (Somehow, one doubts that Harmony Korine did the same for a scene in 1997’s Gummo.)
But, more than anything, it was “one of her sons” (though it’s unclear if that means Rocco Ritchie or David Banda) being a fan of Deadpool that incited Madonna to take the plunge on licensing such a timeless, beautiful song for a Marvel movie. As Kayla Schaefer (Megan Stalter) on Hacks puts it in season three, “Executives love listening to their kids.” In this case, that executive is Madonna, the CEO of all things Queen of Pop-related. And yet, taking advice from others on what to do with her image and work hasn’t always gone according to plan (think: her strong affiliation with the Bored Ape Yacht Club).
In this scenario, the consequence of “lending” “Like A Prayer” to such a specific and highly commercial cause is twofold. On the one hand, Madonna has achieved her aim of infecting the minds of a younger generation as that “Like A Prayer” scene makes the rounds on TikTok. On the other, now little ignorant assholes are referring to the track as “the song from Deadpool,” not seeming to comprehend how reductive and disrespectful it is to the true majesty of the work. Maybe Madonna didn’t totally account for how “giving” the song to Reynolds would result in it being subsequently forever associated with 1) a fight scene where Deadpool and Wolverine take on a wide range of other Deadpools and 2) a scene where Hugh Jackman’s abs are prominently focused on as the duo works to prevent the Time Ripper from destroying all timelines.
Neither scene, of course, really suits the lyrics of “Like A Prayer,” apart from, one supposes, “I can feel your power.” But maybe, beyond that, Reynolds was going for a certain “tone,” and “Like A Prayer” fit the bill more than anything else he could come up with. Even though, in truth, there are many other Madonna songs that might have better embodied the vibe, including “Frozen,” “4 Minutes” and “Give It 2 Me.” Alas, Madonna’s “later” work is rarely as lauded or appreciated as the material she released before the mid-nineties. And when it comes to Marvel movies, choosing the song with the most wide-ranging appeal is the name of the game. Hence, using one of her biggest hits from, what else, the eighties.
Evidently wanting to get their mileage out of shelling out to license the track, Reynolds as Deadpool even makes a comment about it after emerging from his death brush with Wolverine to inform everyone, “You put a Deadpool and a Wolverine together, make ‘em hold hands while listening to Madonna: indestructible, motherfucker.” Sort of like Madonna herself, who has continuously “reanimated” (a.k.a. reinvented) during every decade of her career to show that her ability to adapt to each new era (whether that means embracing certain technology, apps or, now, film franchises) itself informs her own eras—which then inform pop culture itself. And the cycle goes on and on…presumably in every timeline.
The major drawback of that, however, is that, as she angles to get her back catalogue into the ears of new listeners (perhaps aware that only the true die-hards are more interested in her releasing new music), she is left with little choice but to dilute the integrity of the original product. And that’s a big digression for someone who once defiantly told her father when he asked of her Blond Ambition Tour, “Can’t you tone it down a bit?”: “No, because that would be compromising my artistic integrity.” This being precisely what Madonna has done (though not for the first time) in opting to have “Like A Prayer” so prominently featured in Deadpool & Wolverine. But maybe it’s better to have the song remembered for being in the latter than so prominently used in the recent fail that was The Idol.
And, on the note of “failure,” it’s a good thing, for Madonna’s sake, that Deadpool & Wolverine has surpassed the box office receipts of the first two movies—lest Madonna somehow get blamed for being “box office kryptonite” (though that’s technically a DC word) even when she’s not actually in the movie.
“It was a couple years ago and I got a text from Ryan, we’re buddies,” Evans recalled. “He just said, ‘Listen, if you don’t like this idea, no worries whatsoever. But I have something that could really bring the house down and would let you play a character from your past.’”
The Ghosted star continued, “I mean, honestly, I would do anything Ryan asked. He gave me a great cameo in Free Guy already, and I just trust him completely. So the chance to be Johnny again, I couldn’t pass up. I loved it. It was fun to shoot, fun to watch, all of it.”
Though Evans is more recognized for his role as Steve Rogers/Captain America in the Marvel Cinematic Universe, his latest appearance as Johnny Storm came nearly two decades after he first debuted the superhero in 2005’s Fantastic Four. He also starred in 2007’s Fantastic Four: Rise of the Silver Surfer.
The Avengers actor also scored a second appearance in the Shawn Levy-directed movie after the credits, which saw Evans giving an expletive-filled monologue. Ahead of filming the Deadpool & Wolverine scene, he said Reynolds actually offered him some additional help, but he declined.
“Ryan was like, ‘Listen, if we need cue cards…’ and I was like, ‘Cue cards? I’m showing up off-book,’” Evans recounted. “I don’t get to say dialogue like this. Trust me. I’m going to enjoy every second of this. Memorized.”
Earlier this week, Evans took to his Instagram Story to show his appreciation for Levy, Reynolds and Hugh Jackman for “letting me be a part of such an incredible movie.” He added in the post, “Playing Johnny again was a dream come true and he’ll always have a special place in my heart.”
The MCU’s had a rough go in the years since Avengers: Endgamebrought the Infinity Saga to a close. Everyone’s made their feelings on the movies’ inconsistency quite known, especially lately, but apparently there’s a limit to who can dish some smack talk.
In case you hadn’t heard yet, Jamie Lee Curtis dished her own thoughts on the MCU’s current quality. While doing promo for next week’s Borderlands, she was asked about Marvel’s current phase, to which she responded: “Bad.” Naturally, it went viral, and things escalated from there. She later apologized, calling her comment “stupid, and I will do better. I’ve reached out to Kevin Feige, and will no longer play in that mud slinging sandbox of competition we call the internet.”
Accepting both right & wrong answers on any Marvel trivia questions @JoshuaHorowitz or I ask 🤭
This is a very weird situation Curtis is in, because she’s not saying anything particularly vicious. Again, people have been pretty explicit about thinking the most recent phases haven’t been as strong as earlier ones, and often considerably harsher than Curtis. This isn’t even the first time she’s taken swipes at the franchise; back when Doctor Strange 2came out, she called its main poster a ripoff of one from Everything Everywhere All at Once. It also doesn’t seem like anyone at Marvel’s openly felt a way about her comments like they did when Martin Scorcese or other filmmakers have made similar statements. After her apology, Deadpool & Wolverine star Ryan Reynolds threw her a lifeline by pointing out the double standard at play.
Some of this is tangled up in Curtis being in Disney’s Haunted Mansionreboot and currently filming Freaky Friday 2. Through that lens, sure, she probably shouldn’t be talking shit, but Deadpool also takes an even more pointed jab at the MCU in the film proper. If Disney is the one who got her to issue an apology, they can’t really have it both ways. And if it was just due to public outcry…too bad? Jamie Lee Curtis is 65 years old, and she should get to crack jokes or not like movies other people do. Fans have been gradually converted into ballistic missiles for corporations to use when needed, and it’s a not great sign that this occurred in the first place.
Marvel’s going to recover from its rough patch eventually, and Deadpool & Wolverine’s on the path to making $1 billion and taking the top spot for many’s “best of 2024” lists. Let Curtis and anyone else live their truth–if you want to let people enjoy things, you should also let them freely be the biggest haters.
Earlier this month, ScHoolboy Q shared that his Toronto show at Drake-collaborated venue History was canceled without reason. The rapper was still reportedly paid for the show, and he found humor in the situation on X, formerly known as Twitter.
According to Complex, SiR is the latest victim of the Toronto venues’ seemingly newly implemented TDE cancellation policy.
In a hilarious tweet, SiR recalled previously bragging that his Toronto show wasn’t canceled. The TDE singer who stayed silent amid Kendrick and Drake’s back and forth tweeted Tuesday:
“This s*** didn’t age well at all.”
ScHoolboy Q then wasted no time hitting the timeline to laugh at SiR’s Canadian border issues and playfully tweeted that it was time for the singer to “sing on the bus.”
SiR responded with his first acknowledgment of the “Not Like Us” drama with a sly joke. “They DON’T like us,” he tweeted.
He eventually told fans that he was still being paid by the venue for the concert so it was still a win on his end.
What do YOU think about SiR’s Toronto concert cancellation?
It wasn’t until about 10 a.m. PT on Saturday that Disney’s distribution team realized that the near-impossible was within reach: Deadpool & Wolverine was going to cross the $200 million mark in its domestic opening, an unimaginable feat for an R-rated pic. Case in point: the biggest R-rated opening until now was the $133.7 million collected by the first Deadpool in 2016.
By Sunday morning, the news was official. The Marvel Studios movie opened to an estimated $205 million, the eighth-biggest debut of all time among any film and by far the biggest launch for an R-rated film, not adjusted for inflation. The third outing in Ryan Reynolds‘ irreverent superhero franchise smashed numerous other records both domestically and overseas, where it launched to $233.3 million for a global start of $438.3, the biggest debut since Avatar: The Way of the Water in December 2022.
Reynolds has just returned home from a dizzying worldwide tour for the film with BFFs Shawn Levy, who directed Deadpool & Wolverine, and co-star Hugh Jackman. He conversed with The Hollywood Reporter on Sunday about his reaction to the opening, which exceeded all expectations. Most thought it could only get to $175 million to $180 million because of the rating, although one Disney insider says the studio was aware it had a shot at hitting $200 million — provided it got the required foot traffic.
Reynolds has his own theory about its success. “Disney probably doesn’t want me to frame it this way, but I’ve always thought of Deadpool & Wolverine as the first four-quadrant, R-rated film,” Reynolds tells THR. “Yes, it’s rated R, but we set out to make a movie with enough laughs, action and heart to appeal to everyone, whether you’re a comic book movie fan or not.”
There’s reason Disney and others may bristle at labeling it a four-quadrant film, which generally is reserved for movies that work equally for males and females over and under 25. Afterall, it is perhaps the most violent and bloody Deadpool movie yet.
Still, here’s evidence to back up Reynolds’ theory that it’s playing to a far more broad audience than the usual MCU movie, even if it’s skewing male by anywhere from 60 to 63 percent.
So far, 13.6 million people have bought tickets to see it, on par with last year’s Barbie, which was rated PG-13, according to Steve Buck’s leading research firm EntTelligence. That’s the most foot traffic ever for an R-rated movie.
More tellingly, 11 percent of the audience was under 17. R-rated films typically only have 5 percent, according to Buck’s outfit. At the same time, it should be noted that 21 percent of the audience for Marvel’s last five films, all rated PG-13, were under the age of 17, according to an unweighted analysis by EntTelligence.
Deadpool & Wolverine showed strength across all age groups — again, to Reynolds’ point — and not just the 18 to 34 crowd, which can make up as much as 60 to 70 percent of a superhero film’s opening weekend.
According to Entelligence, those between ages 18 and 25 made up 21 percent of ticket buyers; 28 percent were between 26 and 35; 33 percent were between 36 and 45; 12 percent were between 44 and 60; and 5 percent were 55 and older. PostTrack, another leading exit-polling service, had slightly different percentage breakdowns, but not by much. Other stats: 81 percent of the audience was non-family, 13 percent were family groups, and 6 percent were teenagers.
“Once thought of as a sure-fire way to limit potential box office, the R rating, when properly applied, can be the key to unlocking massive box office, and this has proven to be the secret sauce for the Deadpool franchise,” says chief Comscore box office analyst Paul Dergarabedian. “The creative freedom afforded by the less restrictive rating has enabled filmmakers to push the envelope and, particularly in the case of Deadpool & Wolverine, can deliver the kind of edgy, intense, profanity-filled comedy action that modern audiences are fired up to see on the big screen.”
The R rating afforded Reynolds the creative freedom needed to fulfill his vision. “When I saw rated-R movies when I was a kid, they left a huge impression on me because I didn’t feel like people were pulling punches, and it’s been a huge inspiration to so many of the things that I look to make now,” Reynolds recently told The New York Times.
“I’m not saying that other people should do this, but my 9-year-old watched the movie with me and my mom, who’s in her late 70s, and it was just one of the best moments of this whole experience for me,” Reynolds continued in the NYT piece. “Both of them were laughing their guts out, were feeling the emotion where I most desperately hoped people would be.”
If Disney is wary of declaring the new Deadpool film an all-audience film — aka, a four-quadrant film — it’s understandable considering it is the first R-rated film ever released by the studio. When Kevin Feige‘s Marvel Studios got its hands on the franchise after Disney absorbed 20th Century Fox, Disney chief Bob Iger went out of his way to assure audiences that Deadpool would retain its R-rating legacy.
For Reynolds, it’s been a long journey since Deadpool 2 was released by Fox in 2018, between the Disney-Fox merger, the pandemic and then the strikes, which shut down production for months. The movie, in fact, is replete with references to the Fox-Marvel handover, and its implications.
“I’ve been in some form of writing, producing, performing, editing and marketing of Deadpool & Wolverine for three years. I’d say it’s hard work, but it’s closer to obsession. The privilege and honor of making a movie with two of my closest friends in Shawn Levy and Hugh Jackman is never lost on me,” Reynolds tells THR. “Neither is the obscene talent and competence of a ruthlessly devoted post-production team.”
Among additional records domestically, the film is the top opening ever for Reynolds, Levy and Jackman and the fifth-biggest superhero launch. It’s also the biggest July opening of all time, the biggest opening of 2024 so far and Marvel Studios’ biggest launch since Spider-Man: No Way Home in December 2021.
Levy and Reynolds co-wrote the script with veteran Deadpool scribes Rhett Reese and Paul Wernick, along with writer Zeb Wells. Reynolds, who is himself a master marketer, is also giving a tip of his hat to the team at Disney. The star tells THR: “Witnessing the prowess of Marvel/Disney’s promotional machine under Kevin Feige, Lou D’Esposito and Asad Ayaz was a learning experience I’ll never forget. I feel like I’ve waited my whole life to make this movie, and the outcome is icing on an already incredible cake.”
new video loaded: ‘Deadpool & Wolverine’ | Anatomy of a Scene
transcript
transcript
‘Deadpool & Wolverine’ | Anatomy of a Scene
The director Shawn Levy narrates a sequence from his film starring Ryan Reynolds and Hugh Jackman.
I’m Shawn Levy, the director, co-writer and co-producer of “Deadpool & Wolverine.” “So what made you finally wear an honest-to-God costume?” This scene happens at the midpoint of the film where Deadpool and Wolverine, this unlikely duo, are on this quest, and they come across an incongruous diner in the middle of this void landscape. And it’s really the first meaty dialogue scene between the two. This has always been one of Ryan’s and my favorite scenes from the moment we wrote it because it puts two iconic anti-heroes in this incredibly generic trope of the Americana road movie. So the mismatch of these visuals two superheroes sitting in a booth in a ‘50s diner. That was a thrill. “Want to talk about what’s haunting you or should we wait for a third act flashback? “Uhh, Go [muted] yourself.” As the scene evolves, What we reveal here in something of a monologue … “In my world, you’re uh, [clears throat] You’re well regarded.” … is he’s a fan. He is somewhat reverential and in fact envious of the mythic status of the Wolverine. It’s a quieter scene than we’re used to. It’s a longer dramatic monologue than I think Wade Wilson has ever done. “My girlfriend left me and — “You had a girlfriend?” “Yeah. Vanessa. When we met, she was a dancer. We had a whole life.” And it was a joy for Ryan and I to write because this film is as funny, I hope, as people expect and as action packed, but we were really aspiring to make it genuinely warm hearted and meatier on a character-rooted emotional basis than maybe people expect out of a “Deadpool” movie. And I think the emotionality of the film may very well prove to be its most subversive element.
Recent episodes in Anatomy of a Scene
Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.
Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.
As Deadpool & Wolverine points out, Hugh Jackman’s Logan is joining the Marvel Cinematic Universe at kind of a low point. But yet again, our Marvel Jesus is here to make us laugh and feel like we are so back. Happy to report that Deadpool & Wolverine rules, actually.
Wade Wilson (Ryan Reynolds) needs to find a purpose, and he does so by torturing Wolverine at every turn—which isn’t that surprising; it IS a Deadpool movie. But where the third installment stands out is in its ability to bring Wade’s humanity and openness to light. He will always have a snarky one liner, but buried in that is a man who deeply cares about people and wants to protect them.
It has all the big action sequences fans want, Deadpool and Wolverine just going to town on each other because they can and neither of them will die from it, but they use that to their advantage. My favorite shot in the whole movie might just be one that, of course, turns all of this into inuendo.
As is always the case with Wade, his story centers around Vanessa (Morena Baccarin), but this time it’s different. He isn’t desperately trying to get her back, but is instead trying to better himself for once—and doing it with Logan at his side makes it an exciting journey for the audience to go on.
There are some pacing issues, and I found myself asking why we were still doing some things while barely scratching the surface of others, but it overall feels like the Deadpool movies we all know and love, and that’s what we wanted!
Oh my surprises!
The biggest thing I can say about this movie that isn’t going to spoil you is that you simply need to see it ASAP if you don’t to be spoiled by anything. There is a LOT that happens in the film’s slightly over two-hour runtime, and every moment had me laughing out loud, surprised they went there.
But what works is that Deadpool & Wolverine isn’t just about the cameos. Much like the scene when Wade sees the X-Men in Deadpool 2, it all helps to serve as Wade Wilson’s wall-breaking gaze into things, while the story is still his. While yes, there are more than ever before, they’re still rooted in Wilson’s journey.
They don’t take away from what Logan and Wade have to do, and it still feels genuine seeing these two characters coming together to try to save the world one unhinged joke at a time.
Hugh Jackman is so back
Jackman’s take on Wolverine is one that helped redefine the character. Seeing him back (and in the yellow suit) surprisingly means a lot. I didn’t really ever need him to be this version of Logan, but it works and brings a new Logan into the mix.
After Logan, I didn’t think I needed to see Jackman in an X-Men movie again. Yet, it really works to make us care about this version of Logan. And yes, it’s nice seeing his arms out ready to fight at any given moment.
It’s fun and very Deadpool
I think many people wanted this movie to solve the Marvel Cinematic Universe’s problems. I don’t think it aimed to do that, nor do I think it does. What this movie does is tie a nice bow on what the Fox movies did for superheroes. It is a love letter to the studio, faults and all.
This could have been another movie that ruined what we love about Deadpool movies to make it fit in with the MCU, but instead, we got to see what a Wade Wilson movie under the MCU umbrella would look like done right.
I don’t think it is the messiah people want it to be, and that’s a good thing. It is a movie about Deadpool and Wolverine, just as it should be.
The Mary Sue is supported by our audience. When you purchase through links on our site, we may earn a small affiliate commission. Learn more about our Affiliate Policy
The Emmy-winning formula of “Welcome to Wrexham” has convinced FX to back a new soccer documentary series led by club owners Rob McElhenney and Ryan Reynolds. This time, cameras will be chronicling Mexico’s Club Necaxa in Liga MX, the country’s top professional soccer league.
The untitled series from FX and Disney+ Latin America will have actress Eva Longoria, one of several celebrities and athletes who have invested in Club Necaxa, as an executive producer. McElhenney, who was born and raised in Philadelphia, and Reynolds purchased a minority stake in the club in May, joining a group of minority owners that includes actress Kate Upton, wide receiver Odell Beckham Jr. and former NBA star Richard Hamilton.
Deadline reported the series will be produced in both English and Spanish. With Liga MX starting its season this month, work is expected to begin soon on the project.
Club Necaxa shares similarities with Welsh club Wrexham AFC, which McElhenney and Reynolds bought in 2020 when the club was at a low point. Club Necaxa was a Liga MX powerhouse in the 1990s, winning three domestic titles. Los Rayos have since fallen from their peak and the team’s lack of success contributed to their relocation from Mexico City to the working class city of Aguascalientes. They finished last in their conference last season.
A series description from FX says the show will follow Necaxa “as they strive to reclaim their place as one of Mexico’s top teams.” Longoria will try to “breathe new life into the team by enlisting the help of her high-profile friends including new co-owners Rob McElhenney and Ryan Reynolds,” Pro Soccer Wire reported.
Unlike English soccer, Liga MX does not have promotion and relegation — one of the central story arcs for “Welcome to Wrexham” during the show’s three seasons. The 159-year-old Welsh club has been promoted twicesince McElhenney and Reynolds bought the teamand will now play in League One — the third tier of English soccer.
In the United States, “Welcome to Wrexham” has been a hit for FX and has helped popularize soccer in advance of the World Cup’s return to North America in 2026. The series earned five Primetime Emmy awards last year, including for Outstanding Unstructured Reality Program and Outstanding Directing for a Reality Program. The show has already been renewed for a fourth season.
McElhenney’s More Better Productions, the company he launched earlier this year, will co-produce the new series with Hyphenate Media Group, Maximum Effort Productions and 3 Arts Entertainment.
Ryan Reynolds’ favorite Taylor Swift song is no surprise to anyone who has been following their friendship the last 10 years, because it has an incredibly special meaning for the actor.
In a new interview the Deadpool star was joined by Hugh Jackman and Shaun Levy, and the three were asked questions to determine how well they knew each other. One question asked what Ryan’s favorite Taylor Swift song was, and Hugh confidently claimed he “knew the answer to this,” calling out “We Are Never Getting Back Together”.
Blake Lively and Ryan Reynolds have four children, three of whom are named in “Betty” by Taylor Swift
Shaun gave a very niche answer, “Gorgeous,” which Ryan’s eldest daughter James appears on in the opening seconds speaking the title of the song, but both were incorrect.
Ryan then revealed it was “Betty,” a song from Taylor’s eighth album Folklore which uses the names of his three daughters: James, Betty and Inez.
Watch the video here:
Ryan Reynolds reveals favorite Taylor Swift song
“I am in my Folklore and Evermore eras,” Ryan quipped.
Ryan and wife Blake Lively are parents to daughters James, nine, Inez, seven, Betty, four, plus a fourth child whose name or sex they’ve yet to reveal. Inez and Betty’s names were first revealed in the “Cruel Summer” singer’s song “Betty”, from the 2020 album Folklore, while James also featured on the Reputation track “Gorgeous,” with her baby voice appearing at the very beginning.
Blake and Ryan with their daughters James, then two, and baby Inez in 2016
“Betty” is one of Taylor’s own personal favorites as well, and during the Eras Tour has spoken extensively about her process of writing characters from the imagined worlds she created for the Folklore album.
Taylor, Ryan and Blake take a picture with friends at a Chiefs game
Fans have wondered if Taylor revealed the name and gender of Blake and Ryan’s fourth child in her 2022 album Midnights, perhaps the name Daisy-Mae in “You’re On Your Own, Kid,” or 2024’s The Tortured Poets Department which included the names Cassandra, Peter, Chloe, Sam, Sophia, Marcus, Robin, and Aimee in various song titles.
However, Ryan hinted that their fourth baby’s name has not been teased, telling Hoda Kotb earlier in 2024: “We always wait for Taylor to tell us the child’s name. We’ll say this, we’re still waiting.”
Sign up to HELLO Daily! for the best royal, celebrity and lifestyle coverage
By entering your details, you are agreeing to HELLO! Magazine User Data Protection Policy. You can unsubscribe at any time. For more information, please click here.
Deadpool & Wolverinehits theaters in a few weeks, and it’s been a bit of a longer than expected wait for Wade Wilson to come back in theaters. If you haven’t seen the previous movies in a minute, or just want to watch Ryan Reynolds and Hugh Jackman do some cut back and forth banter, they’ve got you covered.
As part of Entertainment Weekly’s cover story on the film, the two actors sat down to recap the major events of the first two Deadpool movies, and also X-Men Origins: Wolverine. That last one briefly opens the recap, and mostly exists so the two can throw some shade at the film and how it ultimately led to Reynolds reprising his short role to begin with. (“We don’t like to talk about this one too much,” says Jackman early on, followed later by Reynolds saying the movie wasn’t either of their fault.) Throughout the Deadpool sections, there’s plenty of laughs to be had about the makeup job to play Wade’s disfigured face, the “lots of affordable” X-Men throughout the franchise, and Deadpool 2’s meta post-credit gags.
If you’ve had fun watching the two’s rapport grow since they first revealed Jackman would be a part of Deadpool’s third movie, you’re gonna get some fun out of the recap. The pair have been all over the marketing for Deadpool & Wolverine, and it’s fun to watch them get some jabs at each other, be confused by the earlier movies, and also take some shots at their own careers. (When talking about Reynolds murdering himself at the end of Deadpool 2 as “housekeeping” on Fox’s dime, Jackman acknowledges that he may need a cleaner himself.) Sadly, there’s no recap of Logan, which makes sense since this is an alternate version, but it would’ve been fun watching them try explaining movies’ wonky-ass timeline.
Deadpool & Wolverine arrives in theaters on July 26. All the X-Men movies can be watched on Disney+, and if you don’t have that, just wait two weeks for FX to marathon the first two Deadpool movies (and probably Origins and Logan too).
