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Guardians of the Galaxy Vol. 3 Ending Explained: What Happened and What It Means

There is a lot going on in “Guardians of the Galaxy Vol. 3,” the 32nd film in the Marvel Cinematic Universe. When you take into account the animal brutality, caged children, strange biomechanical monsters, beheading, peeling face, and one unconvincing f-bomb, it might be too much. It’s easy to lose track of what’s happening or why, even if you go into the dragged-out trilogy finale of writer-director James Gunn with the best of intentions and are still engaged in the MCU as it sputters along in Phase Five.

We have a summary of everything you need to understand “Guardians of the Galaxy Vol. 3,” so that could be helpful. Although Rocket, a talking raccoon, and his peculiar origin are at its core, it’s not rocket science because, of course, it’s a Marvel movie. Martin Scorsese is right to refer to this as a theme park ride, but one could always just shut their minds off, unwind, and enjoy it, and then never think about the movie again. For anyone who may have questions about the “Guardians of the Galaxy Vol. 3” ending after leaving the theatre, we have provided our assessment.

Guardians Of The Galaxy Vol. 3 Ending Explained

In “Guardians of the Galaxy Vol. 3,” Rocket Raccoon (Bradley Cooper) is rendered helpless by Adam Warlock’s (Will Poulter) charging strike. The Guardians uncover a death switch that Rocket’s inventor left on him before they take off for Counter-Earth. They land aboard the Orgocorp satellite with the mushy meat because they are looking for the off code to this switch.

The majority of the movie is spent with Rocket unconscious, however there are random flashbacks that show him as a genetically modified raccoon in the past. He is no longer the lone option for talking animals in the MCU.

The High Evolutionary is the kind of quasi-perfectionist who, in addition to believing he can better nature and New York landmarks, destroys his earlier accomplishments, even eradicating an entire civilization. As the droning Dr. Moreau of the cosmic MCU, his vision of a paradise through “programmed evolutionary changes” implies the obliteration of all living things as well as Counter-Earth once it becomes clear that this place’s back alleys are less than ideal. The High Evolutionary is desperate to harvest Rocket’s brain because Rocket Raccoon, or 89-P13 as he calls him, demonstrates his capacity to come up with a logical fix for the design flaw that was causing the High Evolutionary’s experimental lifeforms to behave violently as monstrosities.

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In “Guardians of the Galaxy Vol. 3,” Rocket Raccoon is one of several characters who has accepted who they really are. Another is Peter Quill, who, as Nebula comments, has been concealing who he is ever since joining Yondu (Michael Rooker, who makes a cameo to show Kraglin how to operate the whistle-controlled arrow), as a space pirate, after his mother passed away.

Quill also put a lot of effort into attempting to alter the character of the current Gamora (Zoe Saldana). He used to be close with a Gamora from the past, but she passed away in “Avengers: Infinity War,” therefore this one has been brought in from the past. Even worse, she pronounces his name incorrectly and calls him “Quinn.”

Other supporting characters in “Guardians of the Galaxy Vol. 3” are also influenced by the message of “Accept who you and others are.” Even Cosmo the Spacedog has a subplot where she is incorrectly referred to by Kraglin as a “bad dog” and she only wants to be appreciated for the good telekinetic dog that she is. Some viewers might be OK with James Gunn’s aesthetic aim on this front and the broad strokes of the plot/ending since “Vol. 3” plainly strives to carve out the meaning and do more than just ride along on the leftover goodwill of prior “Guardians” trips.

The biggest surprise in “Guardians of the Galaxy Vol. 3” may be the absence of notable deaths (apart from those of the High Evolutionary and Adam Warlock’s golden mother, Ayesha, played by Elizabeth Debicki). This is made much more stunning by the fact that the movie teases the deaths of numerous heroes before reversing course and showing that each instance was a fake-out.

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In the teasers, The Guardians could be seen approaching the camera while carrying Peter Quill’s body, which was actually a remarkably accurate Chris Pratt doll. He appears to be merely drunk in the clip from the beginning of the movie.

When Nathan Fillion’s bulbous guard at Orgocorp shoots Drax, he leaves a hole in his chest and kills him with a fatal shot to the back. The scene is set up to be tragic, possibly ending with Mantis’ death, as Drax falls and cries out. The other Guardians must carry out Drax, and this sequence was also featured in the Super Bowl trailer.

When the Guardians are speaking on their spacecraft, Drax is present and safe. He instantly changes into some new clothes, but the movie never goes into detail about how he healed. It makes sense that the team might have treated his wounds off-screen with the same medical technology that allowed them to rapidly mend the limbs Adam Warlock severed during his original strike.

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