Movies

Superman’s End-Credits Scenes: What They Mean For DC

BBG News

To clarify, is there an end-credit scene in the movie Superman? Indeed, there are not one but two. However, these scenes do not contribute significantly to the plot. One scene shows Superman affectionately interacting with his dog Krypto, which is adorable yet lacks any substantial impact on the storyline. In another, Superman exchanges humorous banter with Mister Terrific, a superhero who assisted in closing a portal to another dimension following a world-threatening incident. Once more, it’s amusing, but offers no insights into the potential future of Superman or his cohorts in the DC Comics film universe.

It might be unexpected for moviegoers that these two scenes don’t contain any significant plot developments, usually found in end-credits sequences of summer blockbusters. Traditionally, such scenes provide teasers for sequels, spinoffs, or future installments of the superhero series we’ve just watched. However, it was the Marvel Cinematic Universe that popularized this trend, starting back in 2008 with Samuel L. Jackson’s Nick Fury appearing at the end to invite Robert Downey Jr.’s Iron Man to join a new team – which turned out to be the Avengers.

Most Marvel films have added credit scenes hinting at future movies within the series, and other cinematic worlds such as the DCEU, Fast & Furious, Pirates of the Caribbean, John Wick franchises have adopted this practice too, keeping viewers seated, hoping for more.

Superman is starting the revamped DC Universe (previously known as DCEU). Given that James Gunn, the director and key creative mind behind the DC Universe, is involved, one might anticipate him sharing glimpses of upcoming DC projects such as the Supergirl movie, the horror film Clayface, or the HBO series Lanterns. However, he chose a more humorous approach instead.

Some viewers may find the Superman post-credits scenes as enjoyable breaks from the heavy narratives common in today’s superhero movies and shows. This is because audiences appear to have grown tired of the extensive research required to stay updated with these films and series, a sentiment that has led to decreased box office earnings and lower streaming viewership. However, others might question why they endured a lengthy list of credits just to receive more style than substance. While it could be argued that recognizing the numerous stunt performers and CGI specialists who contributed to the film holds significant value, let’s face it – you were likely checking your phone during the credits, weren’t you?

One might wonder these days, what’s the purpose of post-credit scenes? For instance, three major films this year—Superman, Sinners, and 28 Years Later—have distinctly different endings. It appears that filmmakers are trying to move away from the traditional end-credits sequence by introducing something more creative or, ideally, engaging.

Sinners puts a crucial scene in the credits

In contrast to the post-credits scene dilemma found in Gunn’s Superman, Ryan Coogler’s horror film Sinners provides a significant ending with its mid-credits sequence. Before attending a press screening of this movie, a guide informed journalists to stay seated during the credits, even though Coogler himself stated that Sinners is a self-contained story, not the start of a vampire franchise. It’s fortunate he did so, as I would have missed an essential part of the story’s resolution without his warning.

The film, which takes place during the Jim Crow era, jumps ahead to the 1990s. Initially, t Vampire relatives of Miles’ character, played by Michael B. Jordan and Hailee Steinfeld, who were thought to have perished in the film’s climactic battle, appear to speak with Sammie. Director Ryan Coogler generates laughter from the audience with Jordan’s and Steinfeld’s exaggerated ’90s wardrobe that accurately reflects the era.

The key part of the story revolves around Sammie’s moment of resolution. Sammie, who had forsaken his religious father and faith to delve into the blues world, in a sense striking a pact with the devil. He experienced joy from this choice, even though he bore the wounds of the night when he evoked demons using his ethereal voice. When Stack arrives at the club, he informs Sammie that the elderly musician is nearing death and proposes making him immortal. However, Sammie refuses. Although he has lived a fulfilling life, he has also witnessed the Earth’s woes and is prepared to leave. He confesses that while the night he battled vampires and lost most of his loved ones remains a haunting memory, the day preceding it, when they established the juke joint that Stack opened with his twin brother Smoke, was the best day in Sammie’s life.

As a passionate cinephile, I found immense resonance in a movie that delves into the intricate tapestry of religion and the blood-thirsty music industry, predominantly controlled by whites, which exploits the artistic genius of Black artists. The concluding scenes of Sammie’s triumph, along with Stack and Mary’s apparent victories, carry an undeniable power. This film wouldn’t be whole without the poignant dialogue surrounding these decisions and the characters’ choices to carve their own paths, defying the predetermined routes set by the symbolic forces tugging at their shoulders – the devils and angels, so to speak.

Leaving the movie theater, I shared my thoughts with a coworker about why Director Coogler decided to include that scene amidst the credits instead of concluding the film at that significant point. I had concerns that some viewers might miss a pivotal part of Coogler’s narrative if they left before the credits ended, and upon rewatching the movie a few weeks later, it seemed a few people did exactly that. It’s unfortunate because, as Coogler explained, “The entire script was centered around that moment.

Just like Gunn, Coogler has been shaped by the intense heat of the Marvel Cinematic Universe. He’s the one who directed two films on Black Panther, while Gunn worked on three volumes of Guardians of the Galaxy. It appears that they both learned unique insights from their respective experiences in the Marvel universe.

In recent times, Marvel has gained a trend of introducing characters or plot elements in post-credit scenes that don’t seem to materialize in subsequent films. For instance, the superhero team consisting of Sylvester Stallone and Michelle Yeoh from the Guardians of the Galaxy Vol. 2 spinoff vanished from the Marvel Cinematic Universe (MCU). Charlize Theron made a brief appearance at the end of Doctor Strange in the Multiverse of Madness but did not reappear. Similarly, Brett Goldstein’s character Hercules was introduced in the end-credits scene of Thor: Love and Thunder, with no clear plans for further development. Notably, the Eternals previewed three characters – Mahershala Ali as Blade, Kit Harington as Black Knight, and Harry Styles as Eros – but these characters have not been mentioned since.

In his new role as the leader of a rival cinematic universe, Gunn might be cautious about promising too much and failing to deliver. Understandably so. However, Coogler chooses to accept what seems unavoidable: Blockbuster movies often include specific types of scenes. Rather than providing a fleeting thrill from hearing a fresh superhero name, he focuses on creating emotional depth and character growth instead.

28 Years Later teases a trilogy pre-credits

As a fellow film enthusiast, I can certainly appreciate the desire to break free from the constraints of franchise filmmaking and create standalone masterpieces like Ryan Coogler does. However, finding a balance is crucial when you’re working on a sequel within a series without succumbing to the teaser trap. The latest installment in the “28 Days Later” zombie saga, titled “28 Years Later,” once again provides an insightful approach to this challenge.

Danny Boyle’s latest zombie flick marks the start of a three-part series, with Nia DaCosta taking over for a “28 Years Later” sequel titled “The Bone Temple.” Instead of using a post-credits scene to introduce DaCosta’s film, Boyle decided on an unexpected and discordant finale for his movie.

In a poignant yet grim movie, the third act marks the demise of the central character Spike’s mother and the birth of an unexpectedly healthy baby, born to an infected woman. However, the narrative takes an unexpected turn when Spike leaves his secluded home to navigate the treacherous mainland alone. A figure from his past, Jimmy, initially seen as a young boy in the film, reappears as a grown man, accompanied by a team of parkour enthusiasts wearing tracksuits. They bravely save Spike from a horde of zombies.

In this fictional universe where the zombie apocalypse occurred before Jimmy Savile was exposed as an alleged sexual abuser, a group of fighters self-identify as “Jimmys,” dressing up like the infamous British television personality. However, it’s important to note that these characters are not meant to represent or glorify Savile in any way, given his posthumous accusations of abuse, particularly against children.

The film’s exploration of British cultural icons, such as the queen, Shakespearean quotes, and Rudyard Kipling references, aligns thematically with a group of young boys’ pop culture fixations becoming their reality during the U.K.’s infection. Yet, the use of Savile’s image has sparked debate due to his troubling past.

Regardless of the true motivations behind the final scene, it appears to be an ideal choice for a post-credit sequence due to its significant change in tone, its obvious intention to establish a follow-up, and its puzzling allusion to a fallen TV host. However, Boyle chose not to follow this tradition, which might indicate that filmmakers are making efforts, in various manners, to break free from the dominance of post-credit scenes.

There’s no need to write off end-credits scenes just yet; they’re here to stay, but they may be changing. This could indicate a shift towards a time beyond the Marvel Cinematic Universe (MCU) dominance. “Captain America: Brave New World” and “Thunderbolts” are likely to be among the top 10 highest-grossing films this year, but they were outperformed at the international box office by “A Minecraft Movie”, the latest “Mission: Impossible”, and several children’s films. It seems that superhero movies aren’t the guaranteed hits they once were, as audiences are seeking something fresh and less tied to the MCU formula. This change could lead to more creative liberty and innovation, which is generally a positive move.

The next occasion you’re catching a summer hit at the cinema, it could be worth sticking around till the final credits roll, since there might be an unforeseen surprise or two. At the least, you could recognize some unsung heroes like the diligent grip and makeup crew.

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2025-07-11 22:09

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