It's Always Sunny in Philadelphia star Rob McElhenney has given Deadpool fans a jokey insight into his cameo that never made it to the screen.
McElhenney was set to reunite with his friend and Welcome to Wrexham collaborator Ryan Reynolds on Deadpool & Wolverine – and although his scenes were filmed, they ended up on the cutting room floor.
Following the R-rated threequel's debut in cinemas, McElhenney shared an image from set on Twitter/X. In the photo, he wears a superhero suit next to Hugh Jackman in full Wolverine attire, and jokingly wonders what happened to his scene in the accompanying caption.
Related: Who played Lady Deadpool in Deadpool & Wolverine?
"I traveled 6 thousand miles to shoot my cameo. I hope you enjoyed it because the theater I was watching in had mistakenly cut it out," McElhenney wrote.
"Since I KNOW Ryan wouldn't do me like that, I look forward to catching the movie and my cameo again today!"
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Reynolds' response came swiftly, with the Deadpool star promising his pal he'd look into the cameo's mysterious disappearance.
"It was definitely just that one theater and I am looking into this IMMEDIATELY," Reynolds wrote.
Deadpool & Wolverine has always been hailed as a cameo-filled affair, with big names from the far and wide MCU popping in for a few seconds, or more.
Related: Deadpool & Wolverine credit scene explained
Speaking about the film struggling to keep its own secrets under wraps during filming, writer-director Shawn Levy said he and the producing team were well aware of the risks when they traded a well-guarded sound stage for shooting on location.
"We made a choice early on. The traditional way to make one of these huge movies is largely on sound stages with green screens or LEDs or Volume work and mocap," Levy told Digital Spy.
"We said no to that. Before we started, we said no."
Deadpool & Wolverine is out now in cinemas.
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Reporter, Digital Spy
Stefania is a freelance writer specialising in TV and movies. After graduating from City University, London, she covered LGBTQ+ news and pursued a career in entertainment journalism, with her work appearing in outlets including Little White Lies, The Skinny, Radio Times and Digital Spy.
Her beats are horror films and period dramas, especially if fronted by queer women. She can argue why Scream is the best slasher in four languages (and a half).
