Deadpool 2: A Push to Normalize Pedophilia

deadpool-y-firefist-en-deadpool-2-750x400

Having  watched the comic book movie Deadpool 2, and with pedophilia in the news thanks to Jeffrey Epstein,I feel compelled to assert the following:

Deadpool 2 pushes to normalize pedophilia.

God help us all to fight this evil.

Yes, I did just  write that Deadpool 2—that “fun-loving” “wacky” “offbeat” foul-mouthed” “adults-only” comic book movie sequel—-pushes to make child diddling acceptable.

Is that insane to say? Perhaps. But let me make my case, and then decide.

And I can’t believe I have to write all this about a fucking comic book sequel movie. But I have to.

I’ll do a little background first. If you want to skip ahead to the juicy parts—Control+F for the phrases “Pedo Chart” and “Pedo synopsis.”

Basic Background on Deadpool 2

For those of you unfamiliar, I shall begin by briefly giving a background of the origins of this film, including the main character, Deadpool.

Deadpool (the character) is a mutant-superhero originally from Marvel comic books. He is rather famous for being an outside-the-box character who swears, breaks the fourth wall by talking directly to the auidience, and is generally amusing in a black-humor/quippy-reference sort of way.

Deadpool’s main mutant-superhero power is that he cannot die—no matter what is done to him. He is thus immortal; shoot him and he keeps breathing, cut off a limb and another grows back (more on that later); decapitate him and he keeps chatting away. For most of Deadpool’s life, this mutant power was non-functioning, but it was activated when Deadpool simultaneously got sick with severe cancer and was nearly tortured to death by some bad guys (as shown in the first Deadpool film).

In addition to his main power, Deadpool is a highly-trained former Special Forces soldier. Thus, he has exceptional combat skills in addition to his immortality. Deadpool decides to put all this to good use and becomes a mercenary-for-hire/contract killer (but only kills bad guys, natch).

The original 2016 film Deadpool starred Ryan Reynolds as the titular character. Reynolds is a quippy, model-looking man who has been around Hollywood for a long time but true stardom had always been eluding him, despite a lot of critics and magazine writers cheerleading for him. With the Deadpool series, however, Reynolds finally achieved that stardom.

This first film was both a comedy-action film and a partial parody of superhero films. It was not projected to be a hit, because (1) Deadpool is only second-tier in comic book popularity; (2)  because of the tone of the film (comedy-action/parody) is not the usual serious tone of comic book movies; and (3) Deadpool was rated R, thus (in theory) barring most teenagers (a large portion of the comic book movie audience) from seeing the movie.

So when Deadpool became a hit in 2016, it surprised a lot of observers. A sequel was in order. Hence Deadpool 2, the subject of this article. Deadpool 2 came out in 2018, was also rated R, and also starred Reynolds as Deadpool.

Plot of Deadpool 2

Now  to explain the plot of Deadpool 2 in some detail:

The movie begins with hitman-for-hire Deadpool (played by Ryan Reynolds) witnessing his wife Vanessa (Morena Baccarin) murdered by gangsters. Deadpool kills his wife’s murderers within the next five minutes, but then becomes extremely depressed, not only because he watched Vanessa die and failed to protect her, but also because he can never join Vanessa in the afterlife—because, as explained above, Deadpool’s mutant power is that he cannot die. Thus, Deadpool believes he will be alone forever, and goes into a depressive spiral of loneliness.

In attempt to snap him out of his depression, Deadpool’s ally and friend Colossus (CGI body, voiced by Stefan Kapičić) convinces Deadpool to join the X-Men—yes, those X-men. On his first assignment for the X-Men, Deadpool encounters a violent, spazzing mutant fourteen-year-old boy (his age is stated clearly in the film) who calls himself “Firefist” (Julian Dennison). Firefist has, as his name suggests, the mutant ability to project fire and flames from his hands.

Firefist is an orphan who has been put into a special orphanage for mutant children, and is enraged because he has been tortured and abused by the orphanage. The orphanage is run by the sadistic, quasi-religious, unnamed Headmaster (Eddie Marsan) and his “pedophile” (the movie’s words, not mine) orderlies, who have at least several dozen child and young teens in their care.

Deadpool realizes that Firefist has been abused by the orphanage’s staff, and deliberately kills an evil orderly while subduing Firefist, prompting the government to arrest both Firefist and Deadpool. Upon arrest, the government fits them with special collars that suppress their mutant abilities, thus making Deadpool mortal again, and thus killable. The two are sent to a special mutants-only prison.

On arrival at prison, Deadpool and Firefist are to live together in a two-person cell. The lonely, fatherless Firefist tries to get Deadpool to be his friend, but Deadpool, still miserable about his wife’s death, and consigned that his latent cancer finally will kill him now that the collar is suppressing his mutant immortality, refuses Firefist’s friendship. This causes Firefist to seek out a friend and protector in the massive Juggernaut (CGI body, also voiced by Reynolds), an insanely large, strong, evil mutant in the same prison.

Time travel comes into play, as, from the future enters Cable (Josh Brolin), a stoic, cyborg gunfighter (yes, all those are true) bent on killing Firefist. It seems in the future Firefist becomes a bloodthirsty mass murderer who kills, among others, Cable’s wife and daughter, prompting Cable to come back in time to kill Firefist before he grows into a mini-Stalin; killing one life to save hundreds.

Deadpool still feels protective over Firefist, because Deadpool’s wife Vanessa had stated before she died that she wanted to start having babies with Deadpool. Deadpool’s emotions over are transferred to the orphan Firefist as a makeshift son. So Deadpool protects Firefist from Cable’s attack; in the fracas, Deadpool’s collar is broken and his mutant abilities are restored (i.e. no more dying risk for Deadpool), and Deadpool and Cable are blown out of the prison; thus Deadpool is now free.

The government decides to transfer Firefist, Juggernaught, and other remaining mutant prisoners in a convoy to a more secure prison. Cable attempts to intercept the convoy to kill Firefist; Deadpool and some allies stop Cable, but not before accidentally freeing Firefist and Juggernaught.

Firefist, now free, is bent on revenge against the orphanage and the Headmaster, and he and Juggernaught head there to murder the Headmaster and the orderlies.

Deadpool and Cable join forces, because Cable informs Deadpool that it is this specific murderous rampage at the orphanage that begins Firefist’s love of murder. Deadpool and Cable make a deal: Cable won’t kill Firefist if Deadpool can convince Firefist to refrain from murdering anyone; if not, Cable will kill Firefist.

After an all-out bloody battle at the orphanage, Firefist is just about to kill the Headmaster despite Deadpool’s pleadings. In desperation, Deadpool puts on another prison collar, thus depowering himself and rendering himself killable, as a demonstration to Firefist that he is willing to die to get Firefist to stop his rampage. But Firefist still won’t stop.

Cable, fed up with Deadpool’s ineffectiveness, fires his last bullet at Firefist, but Deadpool jumps in front and takes it to the heart, killing himself, as Deadpool is still wearing the power-suppressing collar. Moved by his self-sacrifice, Firefist decides not to murder the Headmaster. Cable, through a memento he carries with him, learns that the future has been changed and his wife and child were not murdered by Firefist. In gratitude to Deadpool, Cable uses his time-traveling ability to go back in time a few minutes and save Deadpool’s life. The group then walks off into the sunset, with the evil Headmaster dying by being run over by a cab driven.

And a happy ending is had by all.

Or so you’d think, if you don’t have an annoying, buzzing sensation going off in your brain.

My First Viewing: Something bothers me

When I first watched the film, it was in a casual way. I wasn’t that big a fan of the original Deadpool—Ryan Reynolds, the star, usually grates on me in a try-hard manner—but it was decently enjoyable, in a dirty-funny-inside-baseball kind of way.

So Deadpool 2 seemed promising. And when the movie began playing, it started off pretty well. Jokey, interesting, and adult-type fun.

But there was a moment when the movie changed for me: when Firefist got introduced, a little buzzer started going off in my brain.

Suddenly, something about the movie seemed wrong, but I couldn’t put my finger on what. Not wrong like “this movie has lost its mojo”; no, wrong like “something is going on in this movie that is just weird in a dark way”.

When Firefist, a fourteen-year-old kid, is introduced, he is swearing like a sailor (“fuck” a lot from his mouth) during his first spazz-and-shoot-fire scene. His spazz out is less funny and more actually grounded in how actually abused kids react – true violence, true adult swearing. It was darker than most abused-kids scenes I’d seen in supposed fun movies.

Then Firefist goes to prison, and my feeling of unease increased. Why? Because Firefist, a freaking child, is put into an adult prison – and then started putting an object up his literal ass—-a phallic pen that he shapes into a knife.

And then pulling it out of his ass. And putting them back in. Repeatedly. A fourteen year old kid keeps literally sodomizing himself, over and over again, throughout the rest of the film. Regularly. As a joke.

Firefist, an abused child, is part of a long running joke about sodomy—with an “ass pen” as the movie jokingly describes it.

And this bothered me. Immensely. Took me out of the film and into pondering its meaning.

So I decided to watch the movie again, slowly, and see if I could document this bizarre thing I was noticing. Perhaps my imagination was exaggerating it all, and it was just a few bad jokes I misunderstood?

My Second Viewing: A Secret Revealed

So I put the movie on again (I was not watching this in a theater).

And on second, more thorough viewing, I realized that it wasn’t my imagination. It wasn’t just a few bad jokes; in fact, upon second viewing, there were many weird, dark references that I’d missed my first time around, all relating to the same theme.

But what was this theme?

Pedophilia.

That’s when it hit me:

Deadpool 2 was all about normalizing and trivializing sex with children.

That’s when I decided to document the pedophilic references in the film, which I did in the chart you see below.

I will first show you the chart, and then break it down.

The Pedo Chart of Deadpool 2

As an explainer, this chart is for the version of Deadpool 2 I saw through a streaming service in December 2018. As far as I know, this was the U.S.-released theatrical version of this film. The timestamps in this chart are for this U.S.-streaming release; I do not know if the foreign versions or any other releases have different running times or cut up the scenes differently, but I’m confident most (if not all) of these scenes were in all versions.

 

INSTANCE # APPROXIMATE BEGINNING TIMESTAMP PEDOPHILE
CATEGORY
DESCRIPTION
1 4:40 Other Deadpool pauses in a fight to peer under the towel that an otherwise-naked villain is wearing. Deadpool then asks jokingly “Scoutmaster Kevin?”, implying that the villain’s penis reminds him of a Boy Scout leader who molested/exposed himself to Deadpool during Deadpool’s childhood.
2 7:30 Interview with a Vampire Deadpool’s friend/cab driver, named Dopinder, waxes poetically and softly about a scene in the movie Interview with a Vampire where an adult vampire feeds a 10-year-old child vampire some blood for the first time.

As Dopinder describes the film, “she looked up at his smooth, handsome face and said ‘I want some more.’” Dopinder goes on: “picture me a 10-year old [doing that].” As Deadpool exits the car, Dopinder calls out to him, “You’re my Tom Cruise” to which Deadpool flippantly replies “And you’re my Kirsten Dunst.”

Interview with a Vampire is a 1994 film that is notorious for having vampiric-blood-drinking serve as a heavy sexual metaphor throughout that film; almost all instances of blood drinking in the film were couched in sexual scenes and/or had overt sexually overtones.

 

In fact, blood drinking in Interview with a Vampire is specifically a metaphor for taboo sexual acts, most often gay sex , but also especially pedophilia —because in Interview with a Vampire a 10 year old girl has a sexual relationship with a fully grown adult.

3 27:00 Other Firefist’s first appearance; the first words of Firefist, a 14-year old boy, are “fuck off” and “fuck”, which he then repeatedly utters throughout the film when confronted by police/opponents.

 

A few moments later Firefist threatens someone with: “I’ll burn your balls off.”

4 29:50 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Deadpool to Firefist: “Put your hands behind your knees and get down on your head.”

 

Although a humorous inversion of the usual “hands behind head, down on knees” cop-movie lingo, this “incorrect” position is also a sexual BDSM position, with the anus exposed upwards for penetration and the hands behind the legs for being tied.

5 30:50 Other Deadpool says “Fuck it!” to a 10-year old child.

 

Two minutes later (32:35) Deadpool says, “Fuck it!” to Firefist, who is 14.

6 36:05 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Firefist (after first getting to prison): “Tomorrow, we’ll find the biggest guy here, and make him our bitch!” Slang for sexual servitude in prison.
7 37:50 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Firefist: “I stole that guard’s pen and stashed it in the old ‘prison wallet.’” He begins to undo pants and reach into anus while bending over, camera cuts away.

A few seconds later Firefist exhales sexually, as if pulling something out of his anus. Deadpool (unworried): “Prison wallet?”… “I can hear you rummaging around in there.” There is no worry on Deadpool’s part, only mild disgust.

8 39:35 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Black Tom (to Firefist): “It’s nice to see some fresh faces around here” He makes a motion to rub Firefist’s face, implying a sexual connotation.
9 39:55 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Firefist reaches and pulls the pen-shank from his anus (anus/posterior not shown /off camera); expresses the desire to make Black Tom and his two gang members “his bitch.”
10 40:00 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Firefist is punched out, and his pen-shank (again, which he stores in his anus) flies out of his hand and lands in Deadpool’s food. Deadpool, in mild disgust and humor, says, as he is taking it out of his food, “Last thing I need is more hepatitis. Oh, it’s slippery too, this table needs a wipe down.”
11 40:20 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Firefist, to Black Tom’s enforcer: “You’re about to get dickslapped!”
12 40:45 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST After a fight scene, Firefist is keen on reliving the fight by talking about it. He  says the term “shit dick”, grunts in sexual tones, and then makes the following sexual motion:

This 14year old licks his hand and mimes slapping a person’s backside while having sex with them while he says (to Deadpool): “We make a great team.”.

 

A few seconds later Deadpool tells FireFist that Firefist is going to win the prison’s award for “softest mouth”, implying that Firefist will be orally raped by many people in prison.

13 44:15 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST In a fight with Cable, Firefist takes the shank out of his anus again (anus/posterior not shown /off camera).
14 53:20 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Firefist tells Juggernaught he wants the two of them to “make the whole world our bitch.”
15 57:55 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Deadpool to his team on the plan to save Firefist: “Grab the boy, but not inappropriately….he has an ‘ass pen’ [circles the words ‘ass pen’ on map drawing]”…..the map drawing shows a big arrow pointing to Firefist’s anus with a pen in it.
16 1:06:40 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST With a look of humorous pain, Firefist removes the pen from his anus as a weapon when Cable attacks the convoy. (anus/posterior not shown /off camera)
17 1:13:30 Baby Penis Sex Deadpool’s legs were ripped off in the previous scene. However, his mutant power gives him the ability not only to survive, but also to regrow torn body parts.

 

The regrowing limbs take the appearance of child-like limbs, growing slowly over hours/days into adult limbs.

Here, Deadpool is sitting on a couch with his friend Blind Al (a female), and asks her to “rub his legs” which are still growing and which are just out of camera view below. She reaches down out of shot and begins to rub, and she asks “why is your hand so tiny?” to which Deadpool responds “that’s not my hand.”

Blind Al withdraws her hand in shock and disgust —the heavy implication is that it wasn’t Deadpool’s leg she mistook for his hand, but his child-sized penis.

 

Deadpool responds jokingly, “That was nice for me,” and smiles, thus implies touching-child-like private  private-areas is ok and/or pleasurable.

18 1:14:00 Baby Penis Sex Deadpool’s friend Weasel comes in, and sees Deadpool splayed out on the couch without pants or underwear on, his baby legs naked; Deadpool’s shirt is just long enough to cover up his penis from the camera.

 

Weasel, unlike the audience, can see Deadpool’s privates from his angle, and makes a joke about Deadpool “straight shirt-cocking it, toddler-style”
[sic].
Deadpool: “oh yeah, full Winnie the Poo.” (Winnie never wore pants).

..

Weasel (to Deadpool): “It’s like you’re a muppet from the waist down, but this time, you can see the muppet’s dick. Grover’s got a cock the size of a twig.”

 

19 1:15:33 Baby Penis Sex Deadpool: “I can’t let Cable get to him even if I have to teabag him to death.” Teabagging is a sexual act where a male drags his scrotum over a person’s face and puts it in their mouth.

 

Domino (who has come in and is looking at Deadpool’s baby penis): “It’s really just a sip of tea at this point.” She talking about Deadpool’s child-like scrotum.

 

20 1:16:10 Baby Penis Sex While still sitting on the couch panstless, Deadpool slowly uncrosses and recrosses his legs in front of Cable, mimicking the sexual police interrogation scene from Basic Instinct—and we (the audience) get a full view of the baby penis Deadpool  has.

 

It is unclear whether this is a CGI penis or a child’s penis super-imposed on Deadpool.

 

Cable blithely asks Deadpool, “Is that really necessary?” Weasel quips that it’s Deadpool’s “basic instinct” to do that sexual move with his baby penis.

 

A few moments later, Cable tells Deadpool that he’s “here to proposition you” to which Deadpool giggles and says “Oh, he’s really teeing it up, isn’t he?” implying another sexual double entendre.

 

Weasel then asks “Who gets to make the first joke?” Domino: “I think it should all do it at the same time.”  Then the characters make jokes about Cable having sex with a child’s body:

 

Deadpool: “For $45 you get sucky-sucky.”

Weasel and Domino (in unison): “I only do over the pants, mouth stuff.”

21 1:17:20 Interview with a Vampire Cable: “Your boy is going to kill the headmaster of the orphanage…after that he gets a taste for it!”
Dopinder: “Like 10-year-old [sic] Kirsten Dunst, motherfucker!” recalling the earlier Interview with a Vampire sexual/pedophilia conversation.
22 1:20:20 Baby Penis Sex A still-pantsless, still-baby-legged and baby-penised Deadpool walks to Cable to shake hands. Everyone acts disgusted.

 

Weasel: “He’s just shirt-cocking it.”

 

We get a full shot of Deadpool’s child legs and bare child-like ass.

Weasel: “My beautiful, hairless, Twizzler-legged baby boy.”

 

 

23 1:22:00 Baby Penis Sex + ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Deadpool: “Because of me, he [Firefist] is gonna know what real love looks like.”

 

Cable: “Because of you, I’ll always know what a grown man with baby balls looks like!”

Deadpool: “I’m a grower, not a shower.”

24 1:29:30 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Deadpool, describing orphanage goons: “A bunch of armed pedophiles in nursing shoes.”
25 1:31:05 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Deadpool (to Cable, after killing the orphanage goons): “Only best buddies execute pedophiles together.”
26 1:32:30 Other Colossus and two other mutants defeat Juggernaught by ramming an electric wire up his exposed ass cheeks, which the audience sees.
27 1:33:55 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST The Headmaster attempts to flee:

Cable: “He even runs like a fucking pervert.”
Deadpool: “Like an online predator who lost his laptop.”

28 1:34:20 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Firefist: “How do you know what I want?”
Deadpool: “Because I’ve been inside you…that came out wrong.”
29 1:46:50 ANAL/PEDOPHILE SEX WITH CHILD FIREFIST Firefist pulls the pen-shank out of his anus to pick the lock on the collar Deadpool is wearing. (anus/posterior not shown /off camera)

Deadpool (mildly): “They do say the pen is grosser than the sword.”

…[after collar is removed]

Deadpool (to Firefist): “Put that [the pen] back in your ‘prison wallet.’” (slang for Firefist’s anus).

30 1:50:10 Baby Penis Sex In the  closing credits, a child-like drawing of Deadpool pantsless with baby legs  (no penis exposed here), with the line written in crayon : “Full Winnie the Pooh”

 

The Pedo Synopsis –The Pedo Chart Analyzed

As you can see from the chart, Deadpool 2 makes at least thirty (30) direct attempts at pedophile normalization. These attempts are made via humor, with the intent to downplay the horror and disgust of a child engaging in sexual acts by making the situation light-hearted and “no big deal.”

I grouped these pedophile propaganda pieces into the following four categories: (1) ANAL/PEDOPHILE SEX WITH CHILD FIREFIST; (2) Baby Penis Sex; (3) Interview with a Vampire reference; and (4) Other.

I will discuss the pedophile normalization attempts by category.

(1) ANAL/PEDOPHILE SEX WITH CHILD FIREFIST

 

By far the largest category of pedophile normalization propaganda in Deadpool 2 is the ANAL/PEDOPHILE SEX WITH CHILD FIREFIST category. More than half of all the propaganda in the film falls into this category.

This category is defined as moments in the film where there is a humorous reference or implication of Firefist having things inserted into his anus, or, in other circumstances, about his inserting things into another person’s anus, or having sex with adults. Again, remember that Firefist is a fourteen-year-old boy, and rather young looking.

At their first meeting, Deadpool instructs Firefist to get into a BDSM sex position which opens his backside up for anal penetration (# 4@29:50). In prison, Firefist becomes obsessed and repeats many times that he wants to make other people his “bitch”, a slang for a sexual servant (#6 @36:05; #9 @39:55; #14@53:20). Firefist announces to his  adult male opponents in a fight that they were going to be “dickslapped” (# 11 @40:20), giving a sexual connotation to his violence.

When reminiscing about the prison fight, Firefist describes an opponent as a “shit dick” and mimics sexually slapping one of their asses while humping them (Instance # 12 @ 40:45), clear references to a child thinking of other men in terms of sexual objects and their anuses. Deadpool implies that other male prisoners will be orally raping Firefist when he says that Firefist will win the prison award for “softest mouth” (Instance # 12 @ 40:45).

All these casual child-sex-anus connections are bad enough. But by far the biggest part of this large category is the many shocking references to Firefist’s obsession with shoving a pen into or pulling it out of his anus. The “ass-pen”.

Firefist steals a prison guard’s pen to make a “shank”, a prison slang term for a homemade knife (Instance # 7 @ 37:50). It is at this point in the movie that Firefist, out of nowhere, says that he will keep the pen-shank in the “old ‘prison wallet.’” (Instance # 7 @ 37:50). Then, in the same breath, to make sure we understand what Firefist means, he begins to slowly drop his pants until the camera pans away—i.e. Firefist’s “prison wallet” is his anus, up which he has shoved the pen to hide from others.

I repeat: this is a fourteen-year-old boy doing and saying all this. How would a fourteen year old boy know this slang? And why would he be so forthright in shoving things in his ANUS????

The reason why I repeat that point is that it means this child’s mind is centered upon the anus: shoving things into it and using it to dominate others sexually. If any child in the real world were so fixated and mentioned it so much, the police would be called; children who talk so much and so openly about and in such sexual, filthy subjects are almost always guaranteed to have been seriously raped and abused. That the filmmakers think this kind of talk is “funny” and not “disturbing” speaks volumes.

At this point in the film, the “pen-shank up Firefist’s anus” motif becomes a running gag.  The pen-shank is jokingly referred to as an “ass pen” by the people in the film. The “ass pen” ends up tossed into Deadpool’s food (Instance # 10@40:00); being taken out to be used in a fight (#13@44:15); being taken out to be used to jimmy open a door/protection (#16@1:06:40); being taken out and used to unlock Deadpool’s collar (#29@1:46:50). In every single instance the moment is played for casual humor, with no hint of horror or abuse. Deadpool even goes so far as to draw a crude picture of Firefist with his “ass pen”, with the words “ass pen” written next to him, which Deadpool circles for humorous emphasis while saying “he has an ass pen” (#15@57:55).

But wait, there’s more.

The movie makers (which include star and writer Ryan Reynolds) don’t just stop at fantasizing about a fourteen-year-old boy shoving things up his ass or confusing violence with sex, they go full on to NAMBLA fantasies. Deadpool tells Cable that Deadpool will show Firefist that he loves him, and “what real love looks like.” (#23@1:22:00). When Firefist questions “how do you know what I want?” Deadpool responds “Because I’ve been inside you.” (#28@1:28:20). Both of these instances are played off as “jokes”, as if Deadpool merely misspoke about being  apedophile; but with all the other child-anus references, you know they aren’t.

Finally, even when acting heroically, the movie’s heroes still can’t let up implanting in the audience’s minds the idea of this child having sex with adults. Out of nowhere, at the end of the film, the heroes, when attacking the Headmaster and his goons, start repeatedly calling the bad guys “pedophiles” (#24@1:29:30; #25@1:31:05;#27@1:33:55). This is despite the fact that nowhere else in the film is it ever said or alluded to that the Headmaster and his goons are sexually abusing the children; the flashback to abuse scenes are always electroshock therapy with everyone fully clothed and the Headmaster prattling on about how mutant powers are evil. That this idea of calling the opponents “pedophiles” comes out of nowhere means its only thematic link with the rest of the film is the multiple allusions to child sex that the movie downplayed and made light of; the filmmakers had child molestation on the brain (and on their hearts), but tried to cover it up by nonsensically projecting it onto the bad guys for which there was no other proof.

Thus, given all these examples, this movie is obsessed with the idea of having anal sex with children.

(2) BABY PENIS SEX

 

The next largest category of pedophile propaganda comes almost exclusively from one long and very memorable scene in the second half of the movie. In fact, while the ANAL/PEDOPHILE SEX WITH CHILD FIREFIST category is the largest of my four, this category is perhaps the most egregiously-obvious category: the Baby Penis Sex category.

Firefist is the not the only child-body subjected to the filmmakers toxic and evil fascination with having sex with child’s bodies. The filmmakers decided they wanted to have a scene where a newborn baby’s penis was subjected to heavy sexual touching, reference,  and innuendo.

But how to do it and get away with it?

Solution: the filmmakers decided to use Deadpool himself as the conduit.

As background to this scene, near the end of the first hour of the movie, Deadpool gets his body literally ripped in half; Juggernaut rips his lower torso—i.e. his legs and genitalia–off the rest of his body. As discussed, Deadpool cannot die, and his limbs regrow when injured. His upper half, still fully conscious and joking around, must merely wait for his lower half to regrow. So Deadpool heads to the home of his friend Blind Al to recooperate and await his regeneration.

And this is where the Baby Penis Sex scene starts (@ roughly 1:13:00). We open on Deadpool sitting on Blind Al’s couch (despite the name, Blind Al is a woman). Deadpool is dressed in a shirt from the waist up, but nothing—no pants, no underpants, no nothing—from the waist down. His shirt is long enough that covers his private area when the camera pans on him.

Deadpool’s lower half, including his private area, is still regrowing. We can see his legs are humorously baby-sized and shaped; in fact, they look like actual baby’s legs. Thus we are clued in visually that Deadpool’s genitalia is also like this. This is important

Deadpool asks Blind Al to “rub his legs” (#17@1:13:30) to help with the pain of regrowth. Blind Al is shown reaching down just out of the camera’s view and beginning to rub, and she asks Deadpool, “Why is your hand so tiny?” To which Deadpool responds, “That’s not my hand.” Blind Al withdraws her hands in disgust, to which Deadpool quips, “That was nice for me,” implying that a grown adult rubbing a baby’s penis is pleasurable.

The scene continues. Deadpool’s friend Weasel comes in (#18@1:14:00), and sees Deadpool on the couch, still with no clothes on his baby-sized lower half, but his long shirt covering his penis and scrotum from the audience view. However, Weasel, from his angle, can see Deadpool’s baby penis, and jokes about Deadpool’s baby penis: “It’s like you’re a muppet from the waist down, but this time, you can see the muppet’s dick. Grover’s got a cock the size of a twig.” This not only makes light of an adult staring at a child-sized penis, but also deliberately melts imagery from innocent childhood (the Muppets, Sesame Street) into a scene about a baby’s genitalia.

The entire scene plays as one long joke, with multiple further references to Deadpool’s tiny penis being visible.

But then the scene decides to push the envelope further—by further the line between a child’s penis and sexual lust. At one pont, Deadpool slowly crosses and uncrosses his legs, exposing himself completely to the characters, who recoil in horror. The effect is to be just like a similar scene in the highly-sexual movie Basic Instinct—where Sharon Stone does the same thing to seduce a room full of male police officers. Not only is this referenced by the act, it’s referenced by Weasel saying it’s Deadpool’s “Basic instinct” to do that.

And that’s before we (the viewing audience) get a clear shot ourselves of Deadpool’s baby penis.

By the end of the scene, if you aren’t creeped out by how much a baby penis and adult sexual humor are mixed to attempt to normalize it –I don’t know what to say.

(3) INTERVIEW WITH A VAMPIRE

I gave a Third category to a rather minute but powerful recurrence: emphasis and references to the 1994 film Interview with a Vampire. As a side note, the references in Deadpool 2 were solely to the film and not the book on which it was based.

Basically, Interview with a Vampire uses vampire-bloodlust as a metaphor for taboo sex, especially both homosexual sex and pedophilic sex. In addition, and more explicitly, a large chunk of the running time is devoted to an ageless child vampire (played by a 12-year-old Kirsten Dunst) having a prolonged implied-sexual attachment to a fully-adult vampire (Brad Pitt). If you ever watch the film, the sexual aspects are so bleedingly obvious it’s nauseating. Eventually, the only way this affair ends is when the child-lover is murdered by a gay-male-vampire’s (Antonio Banderas) minions, in an attempt that Pitt will become the Banderas’s “companion” (i.e. sex lover). It’s sick and twisted like that.

Anyway, multiple references are made to Interview with a Vampire in this movie, but almost exclusively to the sexual relationship between the child and man vampire. This is done through the cab driver Dopinder, who compares himself to the child vampire and Deadpool to the adult-lover vampire, including Interview With a Vampire references to a child getting a “taste” for bloodlust – which, as discussed, was a heavy-handed metaphor in Interview with a Vampire for sex. All these overt references are a deliberate attempt by the filmmakers to imply that such man-child sexual relations are just humorous or artistic, not horrifying and worthy of the death penalty.

(4) OTHER

In this category, I’ve grouped all the other miscellaneous references that wouldn’t fit other categories, such as when Juggernot is openly sodomized on camera, or when sexual language is used by or around underage children (such as when Deadpool yells “Fuck it!” in front of a 10-year-old child). The smallest category, it yet also reinforces how this film makes light of behavior around children that should be worthy of severe criminal punishment.

Conclusion:

The people in charge of Deadpool 2–which includes star/writer Ryan Reynolds—are pedophiles

 

Faced with this mountain of evidence to make abusing children seem either silly-funny or, at best, blasé, I can only conclude that the people who made this film—including lead actor (and also screenwriter) Ryan Reynolds—are pedophiles. They promote it, they laugh at it, and they are trying to normalize it for the audience—by constantly referencing it and making it seem like no-big-deal. It’s pedophile normalization through propaganda. The same as pro-homosexual propaganda wormed its way in—by at first making jokes about how homosexual behavior was humorous or mundane, and not outrageous.

The message is clear: they are coming for your kids. Inch by inch.

I’ve laid out my case for you. You may decide on that, or watch the movie and decide after that.

I would urge you to watch the movie for yourself, my chart in hand, and see if you don’t agree about what I’m saying. Perhaps I’m crazy. But perhaps I’m not.