Superman Ending & Post-Credits Scenes Explained

The film delivers two credit scenes — one mid, one post — but instead of teasing multiverse chaos or some apocalyptic villain, they offer something much smaller: character moments.

They're low-stakes, but not throwaway. And they say a lot about what kind of DC Universe Gunn is building.

Here's what's actually in those scenes — and what they mean.

Mid-Credits: Superman and Krypto on the Moon

The mid-credits scene isn't some big new reveal. It's a quiet shot of Superman (David Corenswet) and Krypto sitting on the moon, staring silently at Earth. That's it — no dialogue, no action, just peace.

It's the same image used in the film's marketing, and while some might feel shortchanged by seeing a familiar shot, that stillness is intentional. After a film packed with tension — from emotional drama with Lois to cosmic-level threats — this is Superman finally getting to breathe.

It's also the movie's final reminder: yes, he's an alien with godlike power. But he's also just a guy who genuinely, deeply loves the Earth. That matters more than any post-credits reveal.

Post-Credits: Mister Terrific Loses It Over a Building

This scene plays for laughs — but it hits character just as hard.

Superman and Mister Terrific (Edi Gathegi) are inspecting a reconstructed building after Luthor's attack on Metropolis. There's just one problem: the building's not perfectly symmetrical. The seam is slightly off.

Terrific sees it. Superman sees it. Terrific sees that Superman sees it — and loses his cool.

He rants about how no one appreciates the work he does, storms off in frustration, and Superman is left standing there, mumbling to himself, "I can be such a jerk sometimes."

It's a joke, but it's also a window into both characters. Clark is still the earnest farm boy who doesn't want to upset anyone. Terrific, meanwhile, is a perfectionist — brilliant, intense, and just a little volatile. He's not mad at Superman; he's mad that he didn't nail the rebuild.

Gathegi's Terrific isn't the stoic comic version — he plays the character with swagger and sharp edges, like someone who knows he's the smartest guy in the room and doesn't have time to suffer fools. The outburst isn't just funny — it's in character, and it humanizes him.

A Quick Note on the Ending

The movie itself ends on a more traditional superhero beat — but also with a nod to where the DCU is headed. A chaotic, hungover Supergirl (Milly Alcock) crashes into the Fortress of Solitude looking for her dog, Krypto, setting up next year's Supergirl: Woman of Tomorrow.

There's no giant crossover hint, no ominous villain tease. Just a simple signal: this world is expanding — but it's going to take its time.

Instead of setting up ten new films, Superman's post-credits scenes slow down. They let characters breathe. No multiversal cliffhangers, no surprise villains popping in through portals. Just a dog, a moon, and a man trying to fix a slightly off-center building.

For a franchise reboot, that's an unusually quiet flex — and it works.