Deadpool 8

deadpool 8

Today, Patrick and Taylor are discussing Deadpool 8, originally released March 2, 2016 

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Patrick: Every couple years, Drew and I end up having a conversation about the “death of irony” or the “death of sincerity” and every time we have it, we’re basically blowing smoke out our asses. Concepts like “irony” and “sincerity” need not be mutually exclusive – in fact that’s where most genre fiction rest: comfortably in both camps. A superhero comic in 2016 wears the trappings of a superhero comic because its creators and its audience simultaneously love and are bored by those trappings. That puts a character like Deadpool in a tricky spot, when it seems like his mission statement is to subvert what is gradually becoming the insubvertible. Deadpool’s popularity almost works against him in this regard – how can you continue to classify him as a misfit underdog if everyone loves him? And then there’s the wildly successful Deadpool film, catapulting audiences acceptance of the Merc with the Mouth to meteoric heights. Writer Gerry Duggan and editor Jordan D. White act as Deadpool’s tonal shepherds in this series, keeping the character’s aims purely subversive, the key difference is that the subject they’re subverting is no longer as broad as “comics” or “superheroes” or “the 90s” – the subject is Deadpool.

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