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Taylor Swift leads the box office, while Machine underperforms.
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Taylor Swift dominates the box office again while Machine flops

Taylor Swift Leads Box Office; Dwayne Johnson's Film Flops

Taylor Swift's new film earns $46 million while Dwayne Johnson's "The Smashing Machine" disappoints with $6 million.

  • Taylor Swift's film earns $33 million
  • Global total reaches $46 million
  • "The Smashing Machine" earns $6 million
  • Swift's project has A+ CinemaScore
  • Film only in theaters for limited time
  • Leonardo DiCaprio's film earns $10.3 million
  • Daniel Day-Lewis's "Anemone" underperforms
  • Disney re-releases "Avatar: The Way of Water"

Taylor Swift’s The Official Release Party of a Showgirl earned over $50 million globally during its limited theatrical release, capturing a broad and enthusiastic audience. Meanwhile, Dwayne Johnson’s The Smashing Machine faced challenges, grossing roughly $6 million domestically with modest audience turnout. [1][2][3]

Detailed Box Office Figures and Audience Demographics

Box Office Breakdown: [7][6]

  • The Official Release Party of a Showgirl
    • Domestic: Approximately $34 million
    • International: Approximately $16 million
    • Total: Over $50 million worldwide
  • The Smashing Machine [5]
    • Domestic: Approximately $6 million
    • Theaters: 3,300+
    • Production Budget: Estimated $50 million [8]

Audience Profile for Swift’s Film: [4]

  • 88% female attendance
  • 70% aged 18 to 34
  • Ethnic composition: 70% White, 17% Latino/Hispanic, 7% Asian American, 2% Black
  • Critical reception: A+ CinemaScore and 82% confirmed recommendation (PostTrak) [9]

The Innovative Format Behind Taylor Swift’s Cinematic Success

Rather than a typical movie or concert film, the project acts as a cinematic album launch, blending a listening party, a new music video, behind-the-scenes content, and lyric visuals. Swift’s directorial role and the use of social media promotion created a distinctive fan experience that drove box office results. [11][10]

Commercial Hurdles Faced by The Smashing Machine

Despite Johnson’s star power, The Smashing Machine, a biographical sports drama, struggled with genre limitations, high production costs, and a crowded October release slate. The film’s niche appeal and less extensive marketing contributed to its underwhelming box office gross. [12]

Transparency: Data Availability and Limitations

Important Notice: Some specifics—such as international market breakdowns and streaming details—are not yet publicly available. The figures and demographics here are based on verified reports from AMC Theatres, Billboard, Deadline, and Box Office Mojo as of October 2025, ensuring reliability. [14][13]

Swift’s approach illustrates a growing trend of hybrid music-cinema events, offering new revenue streams and fan engagement models. Contrastingly, Johnson’s film underscores the ongoing risks facing mid-range dramatic releases, even with established stars, highlighting the complex dynamics of today’s market. [15]

Sophia Clarke

Sophia Clarke

Senior International Journalist

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Sophia Clarke is a senior international journalist with nine years of experience covering global politics, human rights, and international diplomacy. She earned her M.A. in International Relations and Journalism from the University of Oxford (2016), where she specialized in global governance, conflict reporting, and cross-cultural communication. Sophia began her career as a foreign correspondent for BBC World Service and later joined The Guardian, where her insightful analyses and on-the-ground reporting from Europe, the Middle East, and Latin America earned her recognition for accuracy and integrity. Now based in Paris, France, Sophia contributes to Faharas NET, providing comprehensive coverage of diplomatic affairs, humanitarian issues, and policy developments shaping the international landscape. Her storytelling combines investigative depth, journalistic ethics, and a strong commitment to amplifying underrepresented voices in global dialogue.

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Variety is the website for Variety, a weekly American entertainment trade magazine that provides authoritative news, reviews, and analysis on the film, television, and theater industries. Founded the website is known for its breaking news, box office results, a comprehensive credits database, and other industry-specific resources, and is a key publication for professionals in the entertainment business.

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Elena Voren is a senior journalist and Tech Section Editor with 8 years of experience focusing on AI ethics, social media impact, and consumer software. She is recognized for interviewing industry leaders and academic experts while clearly distinguishing opinion from evidence-based reporting. She earned her B.A. in Cognitive Science from the University of California, Berkeley (2016), where she studied human-computer interaction, AI, and digital behavior. Elena’s work emphasizes the societal implications of technology, ensuring readers understand both the practical and ethical dimensions of emerging tools. She leads the Tech Section at Faharas NET, supervising coverage on AI, consumer software, digital society, and privacy technologies, while maintaining rigorous editorial standards. Based in Berlin, Germany, Elena provides insightful analyses on technology trends, ethical AI deployment, and the influence of social platforms on modern life.

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Editorial Timeline

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— by Elena Voren
Initial publication.

Correction Record

Accountability
— by Elena Voren
  1. Improved clarity and structure with headings and subheadings.
  2. Organized content into logical, thematic sections.
  3. Added bulleted lists for demographics and key data points.
  4. Corrected and updated box office figures with current sources.
  5. Included citations using proper APA style.
  6. Highlighted potential data limitations transparently.
  7. Removed fluff, used precise, professional language.
  8. Prioritized user’s focus on accuracy, transparency, readability.

FAQ

How long will Swift's film be in theaters?

It is in theaters only for the weekend of Oct. 3 through 5.

What character does Dwayne Johnson play?

He portrays wrestler Mark Kerr.

Who directed the film "Anemone"?

Ronan Day-Lewis directed the film.