Spoiler alert! The following post discusses important plot points and the ending of “The Marvels” (in theaters now), so beware if you haven’t seen it yet.

Three of the Marvel Cinematic Universe’s core superwomen form a tight-knit trio in “The Marvels,” though by the end, one of them is stuck in a whole other universe and another is forming her own young Avengers crew.

Directed by Nia DaCosta, “Marvels” brings together a group – powerful space hero Carol Danvers (Brie Larson), teen do-gooder Kamala Khan (Iman Vellani) and astronaut Monica Rambeau (Teyonah Parris) – whose light-based powers become entangled. They form a team to face the Kree villain Dar-Benn (Zawe Ashton), who’s using an ancient artifact to create wormholes and suck the resources from various planets to bring new life to her devastated home world of Hala.

Here’s how the final act and a mind-blowing end-credits scene could affect Marvel’s movie future.

What happens at the end of ‘The Marvels’?

After fitting Hala with a new atmosphere and water, Dar-Benn takes Kamala’s wristband, pairs it with her own and prepares to use the combined massive power to steal our world’s sun so it can reignite the one in Hala’s galaxy. A tussle with Carol leads to Dar-Benn exploding and creating a tear in the space-time continuum. Monica absorbs energy from Carol and Kamala to power up and fly into the parallel universe and fix it from the other side but winds up getting trapped there.

‘The Marvels’ movie review:Brie Larson’s superhero sequel is joyfully weird

Are there any cool MCU cameos in ‘The Marvels’?

Tessa Thompson’s character from the “Thor” movies,” King Valkyrie, appears early on to help Carol save a group of shapeshifting Skrull refugees left without a home. After sharing a hug, Valkyrie points out the usually solo Carol has new running buddies: “I see that you’ve finally found yourself a team.” Carol responds that it was “unintentional” but Valkyrie counters that it’s a good look for her. “You can stand tall without standing alone.”

Does ‘The Marvels’ tease any new MCU projects?

In the final scene before the credits rolls, Kate Bishop, the archer apprentice played by Hailee Steinfeld in Disney+’s “Hawkeye,” comes home to her New York apartment with a slice for her canine pal Pizza Dog. And Kamala comes out of the shadows in a lighthearted twist on Nick Fury at the end of the original “Iron Man.”

“You’ve just become a part of a much larger universe – which at the moment is just me mostly,” Kamala says. “I do have feelers out, though. Did you know Ant-Man has a daughter?” Kate then asks, “What do you want?” and Kamala answers, “I’m putting together a team and I want you on it. Please?” Kate smiles, hinting that a “Young Avengers” project could be coming to movie theaters or Disney+ sooner rather than later.

Everything in the Marvel pipeline:From more ‘Avengers’ to new show ‘Echo’

Does ‘The Marvels’ have a post-credits scene? (What’s up, Beast and Binary!)

You bet! The MCU has been sprinkling references to the X-Men universe of mutant heroes for a while but the end-credits sequence of “The Marvels” is the biggest move yet toward a full-on X-introduction. Monica wakes up in a strange white room alongside her mother Maria (Lashana Lynch), who in Monica’s world died of cancer but in this one is a superhero named Binary. (In the comic books, that was one of Carol Danvers’ personas.) So Monica’s pretty emotional when in walks a furry blue guy: Dr. Henry McCoy (Kelsey Grammer), aka Beast from 2006’s “X-Men: The Last Stand” and 2014’s “X-Men: Days of Future Past.”

Monica asks what happened and Beast says, “We were hoping you could tell us. All we know is that Binary found you. My theory? That you fell through a tear in space time. You are now in a reality parallel to your own, which is of course impossible. Confusion is but the first step on the journey to knowledge.” He also tells Binary that “Charles” – Charles Xavier, played by Patrick Stewart in the X-films – asked for an update, so he departs, leaving Binary to ask Monica who she is and Monica realizing the gravity of the situation: “Oh, (shoot).”