Does Deadpool & Wolverine have a post-credit scene?

Two, and they do completely different jobs. The first arrives partway into the credits; the second sits at the absolute end, after the final technical card.

The mid-credits slot is not a scene in the conventional sense — it is a montage. Behind-the-scenes footage, on-set interviews and junket fragments pulled from two decades of 20th Century Fox's Marvel output, cut to Green Day's Good Riddance (Time of Your Life). A young Hugh Jackman on the set of the first X-Men, Jennifer Garner in the Elektra costume, Chris Evans as the Human Torch, Ryan Reynolds on the Blade: Trinity set talking about a character he had not yet been allowed to play properly. No jokes, no Wade voiceover. It plays as an obituary for a studio, and it is the most sincere ninety seconds in the movie.

The second is the opposite in every respect. Wade steps back on camera to address what he calls the "absolutely vile rumours" that he got Johnny Storm killed, and produces the receipts — footage proving Johnny said every word of it himself. Chris Evans, back in the blond wig, then delivers the filthiest run of dialogue ever committed to a Marvel Studios release, all of it aimed at Cassandra Nova.

How it happened is better than the gag. Reynolds pitched it to Evans in a barber shop: let me film you saying something unrepeatable, and I'll pay it off at the very end. Evans agreed on the spot, got the pages that day, memorised them and shot the thing in essentially one take. He has since said he never gets handed dialogue like that.

Neither scene teases a film, which is unusual for this studio. The montage closes the Fox chapter; the stinger is a punchline that quietly keeps Evans' Johnny Storm available — he is shredded, not confirmed dead, and the movie leaves that usefully vague. Stay for both.