They (2025)

London, West End, 1953. American director Leo Kopernick arrives at a theater where a long-running production of The Mousetrap is staging its 100th performance. Kopernick tries to persuade producer John Woolf to let him direct a film adaptation and clashes with the play's actor Richard Attenborough and writer Mervyn Cocker-Norris. After a confrontation in which Kopernick and Attenborough come to blows and Kopernick collides with a celebration cake, Kopernick leaves and walks toward the theater's backstage area. He pauses in a restroom to wash his face and notices a shape at a window he first mistakes for a mannequin. A man seizes him from behind, hitting him in the face with a ski, then pins him in an attempt to strangle him. Kopernick breaks free but opens a door only to find a brick wall. His assailant retrieves a sewing machine and strikes Kopernick repeatedly across the head, leaving Kopernick dead on the couch set onstage.

Constable Stalker arrives at the theater and meets Inspector Stoppard as they assemble the cast and crew as potential suspects. Stoppard closes the theater until they can locate the killer; he and Stalker examine Kopernick's body on the couch and begin taking statements from those present, including theater owner Petula Spencer, producer Woolf, Woolf's wife Edana Romney, playwright Mervyn Cocker-Norris, actor Richard Attenborough and his wife Sheila, usher Dennis Corrigan, and other members of the company and production team. Commissioner Harrold Scott reprimands Stoppard for drawing public attention by locking down the theater and orders him to bring Stalker along on the investigation to mentor her.

Stoppard and Stalker speak with a bellhop at Kopernick's hotel who reports overhearing Kopernick arguing with Mervyn; the bellhop quotes Mervyn saying he will kill Kopernick. The investigating pair visit Mervyn at his residence. Through flashbacks Mervyn recounts disputes over the film adaptation: Kopernick wants a more sensational, violent ending in which a detective's partner dies, while Mervyn defends his play's original structure. Mervyn mentions seeing a "plain woman" at Kopernick's hotel with an illegitimate son Kopernick had fathered. Mervyn also lives with his nephew Gio, a volatile young man who practices taxidermy.

At Shepperton Studios, Woolf's public flirtation with his assistant Ann Saville becomes evident; Woolf fears Kopernick might expose his affair. Stoppard and Stalker split investigative duties. Stalker watches Stoppard and notes his private home life: she learns he is a seasoned inspector who suffered wartime injury and later divorce. Stoppard, in turn, grows suspicious of Stalker's observations and of the small clues he discovers. Stalker follows leads and homes she visits, and she finds evidence suggesting Stoppard's ex-wife once fit a description related to Kopernick's hotel sightings. Stoppard refuses to be defensive, and the two officers probe the theater's staff and performers.

Dennis the usher tells a story of a figure acting suspiciously in the theater on the night of Kopernick's murder; his account yields little immediate proof. Petula explains she sold the film rights for The Mousetrap to Woolf and that Woolf cannot proceed with a movie until the stage run concludes, entangling backstage tensions with financial stakes. Stoppard and Stalker attend a performance given to them by Attenborough and Sheila to observe stage practice and audience reaction. During the play, a figure moves through the dim corridors and confronts Mervyn; the figure strangles Mervyn to death in full view of the stage and then strikes Stoppard over the head, rendering him unconscious.

Knocked out, Stoppard slides into a hallucinatory, liminal sequence in which he sees Kopernick sitting behind a bar and hears Kopernick ask if anyone mourns him. Stoppard finds a door guarded by Dennis; peering through a crack, he believes he sees Mervyn stuffed like an animal by a taxidermist. When Stoppard regains consciousness he finds himself arrested in a cell alongside Stalker and Commissioner Scott. Authorities accuse him of being the murderer; investigators produce a woman named Joyce and imply she is Stoppard's ex-wife, the "plain woman" Mervyn mentioned who attended the hotel with Kopernick and his child. Stoppard insists Joyce is not the woman he knew and is released when the identification proves mistaken.

Stalker escorts Joyce to her home and asks probing questions about whether Joyce and her son ever went to see Kopernick. Joyce tells Stalker that she heard a voice with a strange accent at the theater. Meanwhile Stoppard turns his attention to Gio Cocker-Norris, the nephew of Mervyn, who works with taxidermy and has a temper. Stoppard investigates Gio's life and finds archival newspaper articles about two brothers, one of whom died in childhood. The articles mark a past tragedy that links to the theater: Dennis Corrigan, an usher, had a younger brother who died years earlier. Dennis's resentment toward the play's use of tragedy becomes a focal point.

Petula, Attenborough, Sheila, Woolf, Ann, Edana, and other theater people are invited to the country home of Agatha Christie by some anonymous message. The group arrives to find the butler Fellowes resistant but then allowed entry by a guest. Inside the house they are led to a room where someone appears tied up as a hostage. Dennis reveals himself in the gathering; witnesses and Petula's mother identify Dennis as the usher with a brother who died. Dennis explains his motive: he believes the play exploits his family's tragedy and seeks to stop the film adaptation and halt the show. Dennis confesses to killing Kopernick to keep the film from being made and to killing Mervyn for writing the dramatization. He aims a rifle at the gathered group.

The hostages, thinking they have found Agatha Christie herself tied up, step forward; the person on the rug is Edana, who says she already knew about Woolf's affair. Tension escalates when Stoppard and Stalker approach the house and Stoppard's car is disabled--Dennis shoots out Stoppard's tires to delay their arrival. Stoppard forces his way into the room where Dennis stands with the rifle. Dennis raises the weapon and prepares to fire; Stalker leaps forward and shoves Stoppard out of the line of fire. She sustains a small wound, a nick, as the bullet grazes or strikes her; Stoppard is shot and falls. Stoppard, though wounded, draws his sidearm and fires, shooting Dennis twice. As Dennis reels, Agatha Christie herself lunges forward and strikes Dennis on the head repeatedly with a shovel, bludgeoning him until he dies from the impact to his skull. Emergency responders take Stoppard to a hospital for treatment for his gunshot wound.

In the aftermath, authorities explain Dennis's motive: he lost a brother in childhood because of neglect, resented the public consumption of grief, and targeted those he blamed for profiting from that pain. Stoppard recovers and receives official recognition for his actions at the Christie house; Stalker passes her sergeant examination. Commissioner Scott receives a knighthood for his service. The theater reopens, and Stoppard and Stalker return to watch The Mousetrap; Stoppard addresses the house audience, and Stalker asks him to be quiet because she missed the ending last time. Kopernick's narration bookends the events, noting how the investigation resolves.

Meanwhile, in a small American town, trainer Dusty Meeks sits in his modest office with his assistant Julian, consulting bills and mulling over the financial state of his racing operation. Their gelding Caveat has not produced winnings of late; Julian kills time by reading a community magazine and, aloud, recites an advertisement for the San Joaquin County Fair. He tells Dusty that his sister Bonnie will enter a pie-eating contest and that the fair will host a horse race called the Bunson Swine Mile, which carries a first-place purse of $65,000. Dusty stares at the advertisement, calculates the potential payday, and decides to enter Caveat. He knows, however, that their usual jockey, Dee, remains under a three-week suspension for assaulting another jockey after a previous race and will be ineligible on race day.

Dusty phones multiple agents seeking a replacement jockey; after a string of rejections a young rider named Martin Romero shows up at Dusty's office. Martin's agent informed him Dusty needed a mount, and Martin expresses eagerness to ride a horse like Caveat. Dusty has barely begun to discuss the prospect with Martin when Dee storms into the office, furious to learn Dusty has been considering another jockey. Dee confronts Dusty, accusing him of abandoning her while she serves a suspension she provoked through her own temper. Dusty tries to explain that the schedule places the Mile within the suspension period and that he must find a rider who can start immediately.

The documentary crew following Dusty and his stable films Dee at her day job operating a forklift in a bulk store. On camera she complains about her suspension and feels she cost Dusty a chance at a win, but she acknowledges that her hotheadedness led to the punishment. A customer in the store hears her vent and suggests she petition the racing stewards for a reduction in her suspension; he implies that calling on her trainer and team might help. Dee seizes on the idea, thanks the man, and hurries to make the appeal.

Dusty drives out to the fairgrounds with Julian, Martin, his elderly father Ken, and Caveat's owners, seeking to get the horse into the Bunson Swine Mile. The fair buzzes with carnival noise and livestock pens; banners advertise the prize money. Dee arrives at the racing steward's office and pleads her case. She promises never to assault another jockey and argues that her absence cost Dusty a possible victory. The stewards review a videotaped message Dusty recorded and submitted in support of Dee, where Dusty vouches for her character and stresses how much the team needs her. After watching Dusty's appeal, the stewards agree to reduce Dee's suspension and give her clearance to ride in the Bunson Swine Mile that afternoon.

Dee races to the paddock, takes the jockey silks from Martin and forces Martin out of Caveat and out of the uniform. With Ken's assistance she reclaims the tack and mounts Caveat; Dusty and the team spot her as she rides toward the starting gate. The field lines up; tension crackles through the crowd as the gates fly open. Dee urges Caveat forward, and the horse responds, surging through the pack. The race narrows into a head-to-head between Caveat and another fast-warrior horse; the finish becomes a photo finish, and in the instant the cameras seize, Caveat edges past the opponent to win. Dusty and his crew erupt; Dee kisses Dusty on the cheek in a spontaneous show of affection and relief. The victory delivers the $65,000 purse and serves as Dusty's first major win in years.

After the race, the documentary crew follows Dusty and Dee on a walk across the fairgrounds. Dusty tells the cameras he will let Caveat rest for two months at a farm. He also explains that his pony-concession business has expanded to include llamas, which attract children and add a modest income stream. Dee reports she still works at the bulk store but reveals that she and Dusty are engaged and preparing for a wedding in the near future. The film closes on the couple walking together with the documentary crew trailing, Caveat recuperating at the farm, and the racing team savoring the prize money that promises to keep their small operation afloat.

The movie They (2025) ends with the main characters confronting the supernatural forces that have haunted them since childhood, but the film leaves their ultimate fate ambiguous, suggesting that the terror is ongoing and unresolved.

Expanding on the ending scene by scene:

The climax unfolds as Julia, the protagonist who has struggled with night terrors and trauma from her father's suicide, reunites with two of her childhood friends who share similar experiences of being "marked" by mysterious entities known as "they." These friends, including Billy--who earlier in the film had a tragic suicide in a diner booth--come together to face the dark forces that have been stalking them since childhood.

In a tense and eerie sequence, the trio encounters manifestations of these silent, creeping intruders that lurk in the shadows and dark corners of their environment. The atmosphere is thick with dread as the characters attempt to understand and resist the malevolent presence. Despite their efforts, the supernatural force proves relentless.

The film culminates in a confrontation where the characters are forced to confront their past traumas and the literal embodiment of their fears. However, the narrative does not provide a clear resolution or victory; instead, it ends on a note that implies the horror is cyclical and that "they" continue to come for those marked.

Julia's fate, along with that of her friends, remains uncertain. The film closes without showing definitive survival or escape, leaving the audience with a lingering sense of unease and the possibility of continuation, as the door is left open for a sequel.

This ending emphasizes the persistent nature of trauma and fear, embodied by the supernatural "they," and the difficulty of escaping one's past. The characters' struggle is both literal and metaphorical, but the story refrains from offering closure, underscoring the ongoing conflict between the characters and the dark forces that haunt them.

There is no information available regarding a post-credits scene for the movie titled "They" produced in 2025. The search results do not mention this specific film, so it is unclear whether it includes any additional scenes after the credits. If you are looking for details about a different movie, please provide more context or clarify the title.

Tim and Millie encounter a mysterious force after falling into an underground cave that was formerly a New Age church. Tim drinks from a pool of water inside the cave, which triggers episodes where he is physically drawn to Millie. Eventually, after they have sex, their genitals become stuck together, indicating a supernatural or unnatural force physically binding them.

Tim recalls a traumatic memory of finding his mother in bed with his father's decaying corpse, which haunts him. This trauma seems to exacerbate his confusion and distress as he experiences the strange physical symptoms and episodes after the cave incident, contributing to his emotional distance and tension with Millie.

Jamie McCabe is Millie's co-worker who visits their home to welcome them to the neighborhood. He learns about their experience in the cave and later witnesses Tim and Millie's disturbing physical connection when he spots them after they painfully separate their stuck genitals, suggesting he may become involved in the unfolding mystery.

The doctor mentions that Simon and Keri, a local couple, recently went missing, which hints at a broader, possibly sinister influence in the area connected to the cave and the unnatural force affecting Tim and Millie. This detail suggests that the phenomenon impacting the protagonists may have affected others before them.

At the start, Tim and Millie are at a crossroads, with Tim emotionally distant following his parents' deaths and Millie proposing marriage. After moving to the countryside and encountering the supernatural force, their relationship becomes strained and confusing, marked by physical and emotional entanglement. Their intimacy becomes painful and dangerous, reflecting the corruption of their love and flesh by the unnatural force.

There is no evidence of a movie titled They produced in 2025 in the provided search results. The only films titled They in the results are the 2002 horror film and the 2022 thriller They/Them, neither of which is a 2025 release. The 2025 family movie previews listed do not include a film by this title.

If you are referring to a different film or have additional details, please clarify. Based on current information, no movie titled They from 2025 exists in the available sources, and thus no content guidance can be provided.

In the 2025 movie titled They, there is no direct information indicating the presence or death of a dog. The search results do not provide any details about a dog character or its fate in this specific film.

However, there is relevant information about dogs dying in other 2025 movies with similar or related titles:

• In Good Boy (2025), a dog named Bandit is revealed to have died prior to the events of the film. Bandit appears as a ghost and his skeleton is shown near the climax, but no dog dies during the film itself.

• For They (2025), the DoesTheDogDie.com entry does not confirm any dog death, and community comments suggest no dog dies on screen, though a cat is harmed.

Since your question specifically asks about the movie titled They produced in 2025, based on the available data, there is no evidence that a dog dies in this film. If you are referring to a different 2025 movie with a similar title, please specify for more precise information.