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Taylor Swift's Showgirl cinema event opens to $34.1 million in North America

Taylor Swift's The Official Release Party of a Showgirl opened to $34.1 million in the US and Canada and $50.1 million worldwide over the 3-5 October weekend, according to weekend actuals reported by The Hollywood Reporter.

Naomi FeldmanNaomi FeldmanCulture, food and lifestyle
CultureNewsNaomi FeldmanPublished: 7 November 20265 min readSources 19
Taylor Swift's Showgirl cinema event opens to $34.1 million in North America

The final domestic tally rose from Sunday's $33 million estimate, and overseas came in $3 million above Sunday's estimate for a $16 million foreign total, The Hollywood Reporter reported. The event played in 3,702 theaters in the United States and Canada over 3-5 October, according to Deadline.

It ran 89 minutes and mixed music videos, behind-the-scenes footage and lyric videos for Swift's 12th studio album, The Life of a Showgirl. Swift announced the event on 19 September, when tickets went on sale at 12:12 local time for $12, above the national average but below prices in New York City and Los Angeles, Variety reported. The event had minimal promotion outside Swift's social media feeds.

AMC handles distribution as Swift bypasses studios

The Hollywood Reporter reported that AMC Theatres released the event with Variance Films in the US and Canada and Piece of Magic Entertainment in other international markets. In 2023, Swift bypassed the studio system and partnered with AMC for The Eras Tour, which opened to $93.2 million domestically and grossed $261.6 million worldwide against a $15 million budget. CinemaBlend put The Eras Tour's global gross at $261.4 million, while Rotten Tomatoes said it was almost $250 million. The earlier film played in 3,855 North American locations, AMC said at the time, compared with 3,702 for Showgirl.

AMC's chief executive, Adam Aron, said in a statement that Swift's "vision to add a cinematic element to her incredible album debut was nothing less than a triumph." AMC did not host Thursday night or Friday morning screenings, according to The Sydney Morning Herald.

Audience scores and premium screens

Audiences gave the film an A+ CinemaScore, and nearly 90 percent of ticket buyers were female, The Hollywood Reporter reported. Premium large-format screenings contributed 28 percent of the opening gross. The top 50 theaters were largely AMC sites, led by AMC's Dine-In Disney Springs in Florida with just over $95,000, Deadline reported.

How the opening compares with forecasts and The Eras Tour

Before the weekend, box-office analysts projected $35 million to $40 million for the event, Fortune reported, citing Variety. The Sydney Morning Herald cited a median estimate of $35 million from Boxoffice Pro. The final tally came in below both figures, according to The Hollywood Reporter.

The $34.1 million domestic opening is below The Eras Tour's domestic debut. The $50.1 million worldwide total is also below The Eras Tour's global run. Variety reported that Showgirl was Swift's second No. 1 box office debut after The Eras Tour.

International and next screens

In Australia, The Official Release Party of a Showgirl grossed over A$2.89 million after three days, topping The Bad Guys 2 at A$2.4 million and One Battle After Another at A$1.47 million, The Sydney Morning Herald reported. The Eras Tour had opened to A$3.8 million in Australia.

Variety reported the film was scheduled only for 3-5 October. Deadline reported that Imax and premium large-format screens would pass to Disney's Tron: Ares after the weekend.

Comments 0

Sources

19
  1. 01Taylor Swift Rules Box Office Again, Smashing Machine FlopsEN
  2. 02Taylor Swift's 'Showgirl' Rules Box Office, The Rock's New Film BombsEN
  3. 03'Taylor Swift: Showgirl' Kicks Higher To $34M, Still An Anomaly For Album Pic Launch; Dwayne Johnson's Lowest Opening Ever 'The Smashing Machine' At $5.9M – BoxEN
  4. 04Taylor Swift prepares to take a ‘Showgirl’-themed victory lap as she eyes a $35 million haul and a second box-office No. 1EN
  5. 05Taylor Swift Rules The Weekend Box Office Again As The Release Party Of A Showgirl Dominates The Big ScreenEN
  6. 06Taylor Swift already dominated record sales. Now, she’s crushing the box officeEN
  7. 07Taylor Swift’s ‘The Eras Tour’ dances to No. 1 at the box office, eyeing 'Joker' film recordEN
  8. 08Weekend Box Office: Taylor Swift Dominates With $33 Million Weekend - Rotten TomatoesEN
  9. 09Ryan Gosling’s 94% RT Sci-Fi Sensation Outpaces Taylor Swift’s ‘Eras Tour’ in Theaters - ColliderEN
  10. 10Elvis is still king — of the box office — as ‘EPiC’ earns $15 million in a win for music docs - Los Angeles TimesEN
  11. 11Taylor Swift's Former Classmate Explains Why 'Most People Hated Her' During High SchoolEN
  12. 12OpenAI Staffer Pleads Not Guilty to Office Bugging ChargeEN
  13. 13NASA’s Swift telescope falls to Earth after nearly 22 years in spaceEN
  14. 14„Goodreads für Filme“: Die New York Times will Letterboxd kaufenEN
  15. 15 NASA's Swift space telescope crashes back to Earth after failed rescue attempt EN
  16. 16 The 2027 'eclipse of the century' will plunge real Star Wars filming locations into darkness EN
  17. 17OpenAI appoints Jill Hazelbaker as Chief Corporate Affairs OfficerEN
  18. 18'You Can See Everything' Helped Surge October Box Office 37% Over Last Year - TheWrapEN
  19. 19‘You Can See Everything’ Narrowly Leads ‘Clayface’ for First No. 1 at Box Office - TheWrapEN

All figures and quotations in this text come from the sources listed below.

Content prepared by the editorial team with AI assistance.

Naomi Feldman

Naomi Feldman

Culture, food and lifestyle

Naomi Feldman covers culture, food, fashion and design, lifestyle and history for FLASH24, working from primary sources such as archive records, exhibition catalogues and first-person interviews rather than press releases. For food and design stories she checks prices, opening hours and production figures against at least two independent sources before filing. She spends much of her week talking to chefs, curators and designers, and marks the festival and fashion-week calendars months ahead to compare how the same event is covered elsewhere. Outside the desk she runs festival marathons and spends time in independent cinemas and film archives, which shapes how she reads cultural programming and restoration work. She does not publish a review without having seen the film, eaten the food or walked the space herself.

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