Post-Credits Scenes

Summary

Pop Culture Happy Hour Episode Summary: "Post-Credits Scenes"

Release Date: May 21, 2025

In this engaging episode of NPR's Pop Culture Happy Hour, hosts Linda Holmes, Glen Weldon, Stephen Thompson, and Aisha Harris delve into the fascinating world of post-credits scenes in contemporary cinema. The discussion navigates through the evolution, purpose, and varying reception of these cinematic elements, providing listeners with a comprehensive understanding of their significance in modern filmmaking.

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1. The Evolution of Post-Credits Scenes

Glenn Weldon opens the conversation by highlighting the transformation of movie endings from simple credit rolls to complex post-credits narratives:

Glenn Weldon (00:20): "The movie ends and the credits roll. That used to be your cue to start heading to the parking lot to debrief with your friends, but that was before the era of the post-credits scene."

He traces the origins of post-credits scenes back to films from the '60s and '70s, such as The Cannonball Run and There's Something About Mary, which incorporated bloopers and humorous sequences during or after the credits.

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2. Host Perspectives on Post-Credits Scenes

a. Stephen Thompson's Take

Stephen Thompson shares his upbringing with a deep respect for film credits, viewing them as a moment of appreciation for the filmmakers' efforts. He appreciates post-credits treats as rewards rather than obligations:

Stephen Thompson (03:32): "I see post-credits scenes as a little treat for sticking through and watching all the key grips and all that stuff roll by."

He values non-substantive additions, such as callbacks to jokes or character moments, citing Toy Story 4 as a prime example:

Stephen Thompson (04:58): "My favorite recent example is from Toy Story 4... And at the end of the film we're reminded, 'Hey, remember Keanu Reeves as Duke Caboom? Isn't he funny?'"

b. Aisha Harris's Insights

Aisha Harris expresses skepticism about the substantive value of most post-credits scenes, with a rare appreciation for instances where they enhance the narrative. She highlights Sinners as an exception, where the post-credits sequences add depth to the story:

Aisha Harris (05:42): "This is a rare example of a movie where it feels like it's part of the movie and it feels like it's adding something to the rest of the film."

She also enjoys light-hearted additions, such as brief musical interludes or character moments that don't carry significant plot weight.

c. Linda Holmes's Perspective

Linda Holmes prefers post-credits scenes to remain light and non-substantive, viewing them as enjoyable extras rather than essential parts of the storyline. She criticizes scenarios where meaningful content is relegated to these scenes:

Linda Holmes (10:29): "I just don't like the kind of cheesy lip syncing. It bugs me."

She appreciates humorous and trivial additions, like the famous shawarma scene from The Avengers or the musical antics at the end of Bring It On.

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3. Examples of Effective Post-Credits Scenes

a. Marvel's Shawarma Scene

One of the most celebrated post-credits scenes is the shawarma sequence in The Avengers, which serves as a humorous and relatable moment for viewers after an intense battle.

Linda Holmes (09:48): "The height of post-credit sequences is everybody eating shawarma at the end of The Avengers."

b. Pixar's Bloopers and Parodies

Pixar masterfully incorporates fake blooper reels and parodies, such as those in Toy Story and Monsters, Inc., which provide comedic relief while staying true to the film's tone.

Aisha Harris (14:18): "I especially think of the Monsters, Inc. One... performing a musical version of that line."

c. Fall Guy and Stunt Celebrations

In Fall Guy, a homage to the '80s action series, the post-credits scenes celebrate stunt performers by showcasing how stunts are executed, seamlessly blending with the film's theme.

Stephen Thompson (15:03): "That's a celebration of stunt performers. Naturally, your credit sequences are showing you how a bunch of the stunts are done."

d. Argo and Historical Context

Films based on true stories, like Argo, use post-credits sequences to provide historical updates and context, enhancing the viewer's understanding of real events depicted in the film.

Linda Holmes (16:19): "I do like that when it comes to movies based on true stories... I want to see a little bit of historical context."

e. Fast and Furious 6 Introduction of Deckard Shaw

The introduction of Jason Statham's character Deckard Shaw in Fast and Furious 6 serves as effective fan service, bridging the old and new elements of the franchise.

Aisha Harris (20:47): "I think my favorite might be the mid-credit sequence in Fast and Furious 6 where we introduce Jason Statham as Deckard Shaw."

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4. Examples of Ineffective Post-Credits Scenes

a. Recent Marvel Missteps

The episode criticizes a recent Marvel film's post-credits scene (Captain America: Brave New World) for its poor writing and lack of continuity within the Marvel universe.

Glenn Weldon (18:50): "This is such bad writing because everybody in the Marvel universe knows that there are other worlds."

b. The Devil Inside Promotional Cutaway

The Devil Inside attempted to engage audiences by directing them to a website for more information, which was poorly received and deemed ineffective.

Linda Holmes (19:55): "Well, I think it's a found footage movie... every time I see a not very awesome post-credit sequence now I think, well, at least they're not directing me to a website."

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5. The Balance Between Substance and Entertainment

The hosts agree that successful post-credits scenes strike a balance between being entertaining without being overly substantive or detrimental to the film experience. They emphasize that such scenes should complement the movie without demanding additional commitment from the audience.

Glenn Weldon (08:20): "So your criteria is substantive? That's what you're looking for from a post credits scene?"

Aisha Harris (08:24): "Most of the time, yeah, most of the time."

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6. Conclusion and Listener Engagement

As the discussion wraps up, Glenn Weldon invites listeners to share their thoughts on what makes post-credits scenes worthwhile, emphasizing the variety of opinions and experiences regarding this cinematic trend.

Glenn Weldon (22:00): "We want to know what you think about post credits scenes, what makes them worth waiting for? Find [e-mail] PCHH."

The episode concludes with reflections on the role of post-credits scenes in enhancing or detracting from the overall movie experience, leaving listeners to ponder their own preferences and experiences.

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Notable Quotes with Timestamps:

• Glenn Weldon (00:20): "The movie ends and the credits roll... before the era of the post-credits scene."

• Stephen Thompson (03:32): "Post-credits scenes... that's just like your little treat as the viewer for sticking through."

• Aisha Harris (05:42): "Sinners works in a way to add to the story, add a different layer."

• Linda Holmes (10:29): "I just don't like the kind of cheesy lip syncing. It bugs me."

• Glenn Weldon (18:50): "This is such bad writing because everybody in the Marvel universe knows that there are other worlds."

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This comprehensive discussion on Pop Culture Happy Hour not only explores the mechanics and intentions behind post-credits scenes but also provides diverse viewpoints on their effectiveness and enjoyment value. Whether you’re a casual moviegoer or a film enthusiast, this episode offers valuable insights into a prevalent aspect of modern cinema.

Transcript

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[Glenn Weldon]

The movie ends and the credits roll. That used to be your cue to start heading to the parking lot to debrief with your friends, but that was before the era of of the post credits scene.

[Linda Holmes]

In Marvel movies, post credits scenes tease the next installment, but comedies and horror movies like Sinners have gotten in on the act, offering one last joke or thrill that you'll miss if you don't stick around. Which leads us to ask, is it really worth it to stick around? I'm Linda Holmes.

[Glenn Weldon]

And I'm Glenn Weldon. And today we're talking about the state of the post credits scene on Pop Culture Happy Hour from npr.

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[Glenn Weldon]

Joining us today are our co hosts Aisha Harris. Hey Aisha.

[Aisha Harris]

Hello Glenn.

[Glenn Weldon]

And Stephen Thompson. Hey Stephen.

[Stephen Thompson]

Hello Glenn.

[Glenn Weldon]

Hey there. All right, just so we know what we're talking about here, we're Going to call them post credit scenes, but that's a catch all term for anything that happens during or after the credits. For example, Marvel movies often have a mid credits scene. That's when you get the cast list and the writer, director, editor. But then you get that brief scene. And then after that you get the full credits with the color correctors and the key grips and the caterers and the assistants to Ms. Johansson. And no animals were harmed in Motion Picture of Association America. Then bam. You get the actual post credits scene. But Marvel didn't invent any of this. Several films from the 60s and 70s would show things happening on screen as the credits rolled over them. Films like the Cannonball Run would show bloopers. There's Something About Mary had the entire cast lip synced to build me up buttercup. So the question becomes, how are we feeling just in general about the state of the post credits scene in the year 2025? So, Steven, where do you think of the post credits scene today?

[Stephen Thompson]

Well, I have an interesting history with the post credits scene because I was raised by sticklers. I was raised by the kind of sticklers who felt like if you were gonna go see a movie, the respectful thing to do for the filmmakers would be to sit and watch all their names scroll by in kind of appreciation of.

[Glenn Weldon]

In reverent silence. Yes.

[Stephen Thompson]

And so the addition of more and more post credits scenes, you know, whether they're teasing future films or doing a callback to a joke that you've just seen in the movie, performing a song, whatever, that's just like your little treat as the viewer for sticking through and watching all the key grips and all that stuff roll by. So I haven't thought much of them as like any kind of additional obligation as a filmmaker so much as a reward for sticking around. Where for me, I find it irksome, is that kind of Marvel mom of here is a bunch of lore to presumably entice you to watch the next movie, when for me, that's the stuff that I always find the least interesting about those movies. Anyway, for me, the platonic ideal of the post credits scene is what often turns up, particularly in Disney and Pixar films where you have some kind of callback to a delightful secondary character. Maybe it's providing closure like in Moana, that crab is still stuck to the wall, still upside.

[Glenn Weldon]

Just need a little push.

[Stephen Thompson]

Honestly. My favorite recent example is from Toy Story 4. That film introduces a bunch of really fun secondary characters, including Ducky and Bunny, voiced by Key and Peele, where it does a Callback to kind of the funniest gag in that film. And then at the end of the film we're reminded, hey, remember Keanu Reeves as Duke Caboom? Isn't he funny? You get a little callback to that.

[Glenn Weldon]

Do you really have Laser Ey? Yeah.

[Stephen Thompson]

That for me is what I most appreciate in post credits scenes more than the teaser, that, yes, there will be another Argyll movie.

[Glenn Weldon]

Oh God, yes.

[Aisha Harris]

Good Lord.

[Glenn Weldon]

Aisha, any general thoughts?

[Aisha Harris]

I mean, my general feeling is they are rarely ever additive in a substantive way. As you've already noted in this intro. One of the reasons why we even wanted to talk about this was because of Sinners and the fact that it does have a sort of mid credits sequence and then a post credits sequence. For me, I think this is like the rare example of a movie where it feels like it's part of the movie and it feels like it's adding something to the rest of the film. This is where I'm gonna very, very briefly just talk about this post credits sequence. So if you have not seen Sinners yet, feel free to fast forward like a few seconds ahead. I won't get into too much detail, but I'm sure there are people who want to be completely unspoiled. You'd had enough time, now you should have fast forwarded. So essentially after the end of the film, it fast Forwards to exactly six years later. 1992. Sammy, who is the Smoke and Stack, the Michael B. Jordan character's little cousin. He is now played by Buddy Guy, the great Buddy Guy. We find that he's performing in a club and he's very old. Now we also see that Stack, Michael B. Jordan and Mary, who was played by Hailee Steinfeld. They were both turned into vampires and they have returned. They are still vampires. They have managed to live on. What I liked about this sequence is the fact that we get a little bit of like what happened to these characters, but also we get a moment between one of the characters who fought for his life and chose not to become a vampire. And then we see that interaction and what it means. And it's several minutes. It's not just like a tag at the end. They have like a moment together. It's very rare that we see post credit sequences that last that long and feel like an additional scene. So I feel like this is for me, Sinners works in a way to add to the story, add a different layer. It does also leave open the possibility that perhaps there are going to be other movies in this realm in the future, which I Don't know how I feel about that. But that is often the purpose of these things. Right. Especially when we're talking about things like Marvel and whatever is like to try and tease something that might come in the future. But, yeah, that's kind of how I feel. Like Sinners is a rarity in this case.

[Glenn Weldon]

It is because it is so substantive. But then doesn't that kind of open up the question of why isn't it part of the movie?

[Aisha Harris]

Yeah, I mean, to be clear, this is more of a. So like, there's a few credits and then it pauses and goes back to the scene. And then we have more credits and then there's another post credit sequence, which I think is less urgent or necessary. But it is a sweet moment. It's just Sammy, who's played by Miles Caton, the younger version, singing this Little Light of Mine. It doesn't add anything, but it's, you know, it's cute. So I don't know, I think this splits the difference in a way that works for me.

[Glenn Weldon]

So your criteria is substantive? That's what you're looking for from a post credits scene?

[Aisha Harris]

Most of the time, yeah, most of the time.

[Glenn Weldon]

Okay. All right, Linda, where do you stand in the post credit scene?

[Linda Holmes]

Well, I think I stand sort of the opposite, a little bit of what Aisha was saying. Because the one thing I want is I want them not to be substantive. Right. I don't mind there being a post credit sequence or a mid credit sequence that is, like Steven said, kind of like a little bonus for sticking around. Although I do question, like, when you're getting people to stick around and sit through the credits just to wait for a scene, it's not like they're sitting there reading everyone's name. They're on their phone, they're talking to their friends. I'm not sure it really has that function, but I don't really mind it in that way. Like, if you're willing to hang around, maybe you'll get a little treat. Right. Fine. It is now part of the Linda Holmes lore that I left Sinners when, you know, when I see like, oh, there's Buddy guy. He's clearly this guy and he's playing guitar many, many years later in a club and the credits start to roll, I was like, okay, that's the end of it. I had a couple other things I needed to do. I didn't want to get stuck in the post screening rush. So I did get up and leave. And so I missed those scenes at the end. I still intend to see them. But I do know the details of what happens in them that I don't like. Just put it in the movie. There is no reason to take a substantive point and put it in a mid or post credit sequence. I do not see the point of that. But if you want to. Glenn talked about Build Me Up Buttercup at the end of There's Something About Mary. There's also the Age of Aquarius at the end of the 40 year old virgin, which I think is quite funny.

[Stephen Thompson]

This is dawning of Age of Aquarius. The Age of Aquarius.

[Linda Holmes]

The funny ones tend to be the ones that I like the best. The more pointless they are, the better. To me, the height of post credit sequences is everybody eating shawarma at the end of the Avengers. And I just think it's a really funny and B, a surprisingly effective little character moment for those folks who have lived through this terrible experience. So, like, I like them when they're light and kind of extra. The dancing at the end of Bring it on, they do. Mickey.

[Stephen Thompson]

Oh, Mickey, you're so fine.

[Linda Holmes]

You're so fine you blow my mind.

[Glenn Weldon]

Hey, Mickey.

[Linda Holmes]

Hey, Mickey. If you're gonna advertise your next movie, I don't want to need to have seen the credit sequence in the previous one to be ready for the beginning of the next movie. So I'm like a grump in that way. I only want them to be a little treat. If they mean anything, then I feel like I have been cheated out of the fair play of the movie experience.

[Glenn Weldon]

Oh, I get that.

[Stephen Thompson]

I think if they're going to be substantive, they should be mid credits almost to the point of show me like five frames of names. Allow me to take a little breath.

[Aisha Harris]

Well, that's Sinners to me. That is what's happening with Sinners.

[Linda Holmes]

But he plays the guitar long enough for me to get out of the theater.

[Aisha Harris]

Maybe you were just in a rush, Linda.

[Linda Holmes]

I mean, I just refuse to be shamed for leaving the movie when the credits roll.

[Aisha Harris]

I'm not at all shaming you.

[Linda Holmes]

Oh, no, I know you're not. I know you're not. I'm saying, like, in the world, I refuse to have people be like, well, you shouldn't have left the movie when the credits started. Like, well, yeah, no, that's not the agreement. And I think everything else about that movie is so good. And that decision, I think is just thumbs down from me.

[Aisha Harris]

That's fair.

[Glenn Weldon]

Now, as far as the musical, like, interludes, the build me a buttercup stuff, I don't like Those at all. And maybe I'm just projecting.

[Aisha Harris]

Thank you. Thank you, Glenn. We're on the same.

[Glenn Weldon]

I don't. I keep thinking about. Okay, so, you know, in. There's something about Mary. Ben Stiller was probably game. But like, people further down on the call sheet, you Keith Davids, for example, he did not sign on to dance around to build me a buttercup. My man, Keith David, like, he.

[Linda Holmes]

That's why it's funny, right?

[Glenn Weldon]

That was not in the contract.

[Stephen Thompson]

I'm on Team Linda. This costs you nothing.

[Glenn Weldon]

No, it does. It costs you dignity. I am projecting.

[Linda Holmes]

Nobody can take away Keith David's dignity. Thank you very much.

[Glenn Weldon]

Well, there is that. There is that. But I mean, you know, just now it's like, oh, the director has this funny idea, let's do it. And it's not like, no, if you want me to dance and sing and lip sync, I need. You need to talk to my agent.

[Stephen Thompson]

You are the enemy of fun.

[Glenn Weldon]

No. Well, I mean, it's been said before. I just don't like the kind of cheesy lip syncing. It bugs me.

[Stephen Thompson]

Post credit sequences are for fun.

[Linda Holmes]

No, no. Aisha is also anti fun.

[Stephen Thompson]

Aisha, who loves musicals more than anything. I am shocked that you are not on our side here.

[Aisha Harris]

I like it when it's in the context of the movie, but, like, when it's just people doing funny dances or whatever, I'm just like, you look like you're having the time of your life. I'm just sitting here watching you goof off. Like, I feel the same way about bloopers, generally speaking, where I'm just like, there's a reason this was not in the movie because it's not that funny, or you're breaking character or whatever.

[Glenn Weldon]

Yeah, I mean, that's the thing about the reason. My favorite post credit scene of all time happens to be a blooper reel, but it's not a real blooper reel. It's the blooper reels that come at the end of Pixar movies like Toy Story, Monsters, Inc. Monsters Inc. Bug's Life. Monsters, Inc. Because in those, at least for the ones in. In Bug's Life, Toy Story, they are parodying the idea of a blooper reel, right?

[Stephen Thompson]

Yes.

[Glenn Weldon]

Speed.

[Linda Holmes]

Marker. And action. Are you saying I'm stupid? No.

[Glenn Weldon]

Do I look stupid to you? The thing about a blooper is, as you say, the sudden break of character. But the thing about these fake bloopers is that they were not just something that happened in the recording booth and they decided to animate around them. No, these bloopers were written.

[Linda Holmes]

You are onto them, G.L. i think you are right about that.

[Glenn Weldon]

I know, but see, here's the thing. This is why it breaks my brain. So these things are so constructed, right? So they write it. Then they get the actors to pretend to still be the characters making a blooper. And then teams of animators around the world are animating that fake blooper. It is like the least efficient humor that could be committed to film. That's why I love it.

[Aisha Harris]

Well, that was actually one of the ones I was gonna bring as, like, the fun that I love when it comes to these. I especially think of the Monsters, Inc. One. Put that thing back where it came from, or so help me. Where it's like they call back to a line from the movie. But then we see Sully and Mike and all the Monsters, Inc. Characters, like, performing a musical version of that line.

[Stephen Thompson]

And so we put that kid back.

[Glenn Weldon]

Where she came from, and she helped.

[Stephen Thompson]

Us to find far better tomorrow today.

[Aisha Harris]

Like, it just kind of points to how ingrained this entire genre has become of, like, bloopers and outtakes and how we've come to expect them even by 2001, when Monsters, Inc. Had come out before Marvel took over.

[Stephen Thompson]

You know, I wanna point out one more thing that I generally like, which is Fall Guy, the Ryan Gosling movie, which is kind of loosely Adapted from an 80s action show with Lee Majors.

[Linda Holmes]

Loosely.

[Stephen Thompson]

Very loose. You know, that's a film about stunt performers. That is a celebration of stunt performers. And it's one of my favorite things about that movie is how much that movie loves stunt work. Naturally, your credit sequences are showing you how a bunch of the stunts are done. And I think that, for me, felt very much of a piece with the tone of that film. And then, spoiler ahead, they bring out a couple members of the cast of the 80s action series the Fall Guy, which I probably watched a few episodes of. I don't remember. I don't care.

[Glenn Weldon]

And you, you have the right to remain silent. So shut the hell up.

[Stephen Thompson]

It's fan service for people who do care about that show. If I don't care about Lee Majors, I'm like, who's that old guy? But if I am a fan, I'm happy. That sort of thing can be sweet. What I like about post credit sequences in general is they can fit the tone of the films that they follow while providing a little bonus with very, very low st stakes. And I think that's where they work for me.

[Linda Holmes]

The Last kind that I was thinking about that I do often enjoy is that in a movie based on a true story, obviously. Yes, I want the update of what happened to everybody later. Yes, I want that. They show that in text, but sometimes. One example is Argo. I really like that movie.

[Stephen Thompson]

I really love that movie.

[Linda Holmes]

Then at the end of that movie, they show you side by sides of the people in the movie and the real people. And in that case, aside from the Ben Affleck character, who's not very close, the rest of the people you look at and you're like, wow, that's really close. And you see how much work went into the styling in particular, of the people in the movie to make them feel like the people in real life. And I do enjoy that. I want to see the real people. I want to see a little bit of historical context. I do tend to enjoy that in a movie that is about a real event.

[Aisha Harris]

They did that with Sing Sing too, where you saw clips from the actual productions.

[Stephen Thompson]

I love that.

[Glenn Weldon]

Now, indeed, I am a prisoner. Yes.

[Aisha Harris]

And you were able to see how similar what they perform in the movie is to what happened on screen. I also think, like, again, this goes to similar with Pixar and how they mimic the idea of bloopers and parodies. Like, I think of Walk Hard, where at the very end of that, it says on screen, the actual Dewey cox, San Francisco 2002 or whatever. And he's singing Walk Hard.

[Linda Holmes]

Walk Hard.

[Aisha Harris]

That I appreciate. Like, it's mimicking the form. And, you know, John C. Reilly is still in character and he's playing Dewey Cox. Like, I enjoy that.

[Glenn Weldon]

For me, it doesn't have to be substantive. I agree with Linda and Steven. I just need interesting. I like what Steven said about another perspective. I'm thinking of Airplane, where we cut back to the customer who's been waiting in the cab the entire movie while Robert Hayes character has abandoned the cab at the beginning of the movie. Well, I'll give him another 20 minutes, but that's it. So we all have different metrics for what works. I think we can all agree that this example I'm about to provide does not work. The most recent example of this is a Marvel movie. Captain America, Brave New World. In this final scene, the great Tim Blake Nelson plays the villain called the Leader. But he really looks more like if Dick Tracy had a villain called Picklehead. But Sam Wilson's Captain America goes to see him in jail, and Tim Blake Nelson says this, all you heroes protecting this world. Do you think you're the only ones.

[Linda Holmes]

Do you think this is the only world?

[Aisha Harris]

We'll see what happens when you have to protect this place.

[Glenn Weldon]

From the others. Thud. I mean, clunk. What you have there, my friends, is Marvel throwing up its hands and Saying Citation missing. HTTP 404 not found. This is such bad writing because everybody in the Marvel universe knows that there are other worlds. They have been invaded by them several times. So I saw this opening night, Tim Blake Nelson says the others. The lights come up. There is a beat, my friends. There is a perfect comedic Jack Benny beat. And then this 11 year old voice dripping with sarcasm beyond its years pipes up behind me and goes, oh no, not the others. And I was like, I believe the children are a future book.

[Stephen Thompson]

That kid on our show, even children.

[Glenn Weldon]

Will not put up with this crap.

[Linda Holmes]

Yeah, yeah, I mean that is a good point. And I think like we can all agree that at least it's not. And I don't remember, I don't think this was post credits or it was leading into credits. Do all of you remember that there was a movie, I believe it is called the Devil Inside where you got to the end of the movie, there was a car accident and then it cut to black and it said, for more about what happened in this situation, go to this website.

[Aisha Harris]

I do not. I don't think I saw that movie.

[Linda Holmes]

And it was like, it was sort of notorious.

[Stephen Thompson]

Scan the QR code.

[Linda Holmes]

Well, I think it's a found. I think it might be a found footage movie. And so what they're promising you is for like more about the details of this case. So every time I see a not very awesome post credit sequence now I think, well, at least they're not directing me to a website.

[Aisha Harris]

Yeah, I mean the one outlier for me in terms of what I will take when it comes to post credit sequences. And this is just clearly my bias is the Fast and Furious. I think my favorite might be the mid credit sequence in Fast and Furious 6 where we introduce Jason Statham as Deckard Shaw. He's chasing. He's somewhere, I think in Tokyo. And then he steps out of the car and it's like, oh, Jason Statham is here. And then he says this Dominic Turetto.

[Linda Holmes]

You don't know me.

[Glenn Weldon]

You're about to.

[Aisha Harris]

I mean, come on.

[Linda Holmes]

That is fun. That is fun.

[Aisha Harris]

It's fun.

[Linda Holmes]

I think even some of the Marvel ones, when they're really introducing you to a new interesting character and some of these don't mean any to me, but they meant something to Glenn. And in fact, sometimes I would see these movies with Glenn and I would lean over and be like, who's that?

[Aisha Harris]

That's always me, Nick Fury, director of S.H.I.E.L.D.

[Glenn Weldon]

Oh, I'm here to talk to you about the Avenger Initiative.

[Linda Holmes]

So sometimes I don't know, but sometimes the other people in the theater know. And on their behalf, I'm excited for them that they just sought a character that they're very excited about seeing.

[Glenn Weldon]

Yeah. And at the end of Thunderbolts Asterisk, there is a post credit sequence that features the appearance of something that made my audience cheer. And when that happens, that's what it's for, Right? Well, I wanted to give a heads up to listeners that don't wait for the end of the credits of this podcast for something else. We're not giving Giddy anything. We're not. We're just not. We want to know what you think about post credits scenes, what makes them worth waiting for? Find [e-mail] PCHH and that brings us to the end of our show. Aisha Harris, Linda Holmes, Stephen Thompson, thank you so much for being here.

[Stephen Thompson]

Thank you.

[Aisha Harris]

Thank you.

[Linda Holmes]

Thank you, Glenn. You don't know if I'm going to say something at the end.

[Glenn Weldon]

This episode was produced by Mike Katzev and Liz Metzger and edited by Jessica Reedy. And hello. Come in provides our theme music. Thank you for listening to Pop Culture Happy Hour from npr. I'm Glenn Weldon and we'll see you all next time.

[Aisha Harris]

Put that thing back where it came from or so help me. So help me. So help me.

[Discover]

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[Schwab]

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