Post-credit scenes: results for “tag: diva”

The Bodyguard (1992). Nobody has said whether there is anything after the credits.

A former Secret Service agent grudgingly takes an assignment to protect a pop idol who's threatened by a crazed fan. At first, the safety-obsessed bodyguard and the self-indulgent diva totally clash. But before long, all that tension sparks fireworks of another sort, and the love-averse tough guy is torn between duty and romance.

Key art for Burnt (2015), unanswered on the post-credit question.

Adam Jones is a Chef who destroyed his career with drugs and diva behavior. He cleans up and returns to London, determined to redeem himself by spearheading a top restaurant that can gain three Michelin stars.

Key art for Luna (1979), unanswered on the post-credit question.

While touring in Italy, a recently-widowed American opera singer has an incestuous relationship with her 15-year-old son to help him overcome his heroin addiction.

The Country Girl (1954) cover. Nothing recorded about its credits.

An actor on the skids is given one more chance to regain his stardom, as well as his self-respect, yet his alcoholism may prevent that from happening.

Poster art for Morning Glory (1933), an open question on post-credit scenes.

Wildly optimistic chatterbox Eva Lovelace is a would-be actress trying to crash the New York stage. She attracts the interest of a paternal actor, a philandering producer, and an earnest playwright. Is she destined for stardom, or will she fade like a morning glory after its brief blooming?

Image for Diva (1981), a film with no post-credit data.

Jules, a young Parisian postman, secretly records a concert performance given by the opera singer Cynthia Hawkins, whom he idolises. The following day, Jules runs into a woman who is being pursued by armed thugs. Before she is killed, the woman slips an audio cassette into his mail bag...

Jimmy Somerville: Queer Rebel of British Pop (2025) poster. The count is still zero.

With his soaring falsetto and magnetic yet understated stage presence, Jimmy Somerville burst onto the 1980s new wave scene, making the world dance to songs rooted in struggle and resilience. From the harsh realities of Glasgow’s working-class neighborhoods to the challenges of growing up gay in a hostile world, and the devastating impact of the AIDS crisis, Somerville transformed pain into anthems of freedom. First with Bronski Beat, then The Communards, and later as a solo artist, he became both rebel and diva—the unmistakable voice of a generation fighting for equality. Through intimate stories from those who have stood by him for four decades, this portrait reveals a rare artist who has never wavered in his convictions.

Torch Song (1953) poster. Still unanswered: is there a scene after the credits?

Jenny Stewart is a tough Broadway musical star who doesn't take criticism from anyone. Yet there is one individual, Tye Graham, a blind pianist who may be able to break through her tough exterior.

Britney Spears Live - The Femme Fatale Tour (2011): nobody has checked the credits yet.

Sexy. Slammin'. Outrageous. Hurl all the adjectives you want, but one word says it all: Britney. (Ms. Spears if you're nasty.) The Grammy-winning pop diva storms the stage with a fierce mix of fan-favorite hits and hot new tracks from her latest album, Femme Fatale, in this concert special taped before a sold-out crowd in Toronto. Whether you're in the market for bodacious dance moves, killer costume changes or that make-you-melt Louisiana drawl, Britney's bringing 'em all - bigger and better than ever.

Key art for Gramps Is in the Resistance (1983), unanswered on the post-credit question.

It is 1943 in Paris. Like so many others, the Bourbelle family's home has been taken over by the Germans and they now live in their cellar. Little do they know that the son, Guy-Hubert Bourdelle, is far from being the cowardly hairdresser he pretends. He is in truth the Germans’ most feared opponent: le super-résistant!

Poster art for Heat (1972), an open question on post-credit scenes.

Former child star Joe Davis, reduced to living in a cheap Hollywood motel while struggling for acting jobs, is lusted after by nearly every woman he meets, including Jessica Todd, a tightly wound feminist who has recently come out as a lesbian. When Jessica's mother, Sally, an emotionally needy has-been actress, meets Joe, she moves him into her enormous, tacky mansion as her new boy toy and attempts to get him acting work.

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