Taylor Swift’s latest cinematic venture, “The Official Release Party of a Showgirl,” stormed to the top of the box office charts with an impressive $33 million domestic opening over its one-weekend-only run, underscoring the pop superstar’s unmatched ability to mobilize her massive fanbase for theatrical events. The 89-minute promotional film, tied to Swift’s 12th studio album “The Life of a Showgirl,” played in 3,702 theaters and earned an A+ CinemaScore from audiences, predominantly female and overwhelmingly positive in exit polls. In stark contrast, Dwayne “The Rock” Johnson’s dramatic biopic “The Smashing Machine” stumbled out of the gate with a mere $6 million debut from 3,345 screens, marking the lowest wide-release opening of the action icon’s career and raising questions about audience appetite for his shift to more serious fare.

Swift’s film, distributed by AMC Theatres in a partnership that echoes her record-breaking 2023 concert documentary “Taylor Swift: The Eras Tour”—which grossed over $261 million globally—was announced just two weeks prior to its October 3-5 release, relying heavily on the singer’s social media reach of over 548 million followers to drive presales. The event featured the world premiere of the music video for single “The Fate of Ophelia,” behind-the-scenes footage from the video shoot, lyric videos for other tracks, and Swift’s personal reflections on the album, blending promotional content with an immersive “listening party” experience. Tickets were priced at $12—a nod to the album being her 12th studio effort—with premium large-format screenings contributing 28% of the gross, helping propel it to No. 1 despite minimal traditional marketing beyond billboards and Swift’s Instagram posts. Internationally, it added $13 million for a global weekend total of $46 million, highlighting Swift’s enduring draw post her Eras Tour phenomenon.

The film’s success comes amid a challenging October box office landscape, where holdovers like Warner Bros.’ “One Battle After Another”—directed by Paul Thomas Anderson and starring Leonardo DiCaprio—dropped 49% to $11.1 million in its second weekend, bringing its domestic tally to $42.8 million and global to $101.7 million. James Cameron’s reissue of “Avatar: The Way of Water” managed modest returns, but Swift’s event siphoned premium screens from competitors, including Johnson’s film, which had anticipated better access to Imax and other large formats. AMC CEO Adam Aron praised Swift’s “brilliance and magic,” noting the film’s triumph as a boon for theaters still recovering from industry strikes and streaming shifts. Fans, 88% female per PostTrak data, raved about the experience, with dancing encouraged in aisles, reminiscent of Eras Tour screenings.

On the flip side, A24’s “The Smashing Machine,” directed by Benny Safdie in his solo feature debut, failed to connect with audiences despite critical acclaim for Johnson’s transformative performance as UFC fighter Mark Kerr. The R-rated biopic, based on the 2002 documentary about Kerr’s rise, addiction struggles, and comeback, earned a 73% Rotten Tomatoes score, with praise for Johnson’s dramatic turn—his most absorbing yet—under heavy prosthetics that altered his physique to match the real fighter. Co-starring Emily Blunt as Kerr’s girlfriend Dawn Staples, the film was shot on 16mm, 70mm, and VHS for a gritty aesthetic, premiering to a standing ovation at Venice and positioning Johnson as an Oscar contender. However, its $6 million haul—below initial $20 million projections and even Johnson’s 2010 “Faster” debut—skewed 70% male but suffered from mixed word-of-mouth and competition for screens.

Johnson, known for billion-dollar blockbusters like “Jumanji” and “Fast & Furious,” took a risk with this arthouse drama, a departure from his family-friendly fare, backed by a $50 million budget plus marketing. Early tracking suggested strong appeal to men over 25, but the film’s focus on trauma and substance abuse may have alienated his core audience seeking escapism. Blunt, reuniting with Johnson from “Jungle Cruise,” drew some female viewers, but the movie’s third-place finish behind Swift and “One Battle After Another” signals challenges for A24, which hoped for a record-breaker. Reddit discussions highlighted empty theaters and surprise at the flop, with some blaming Johnson’s “path of least resistance” for an Oscar-bait role leveraging his wrestling background.

Swift’s dominance builds on her Eras Tour film’s $93 million opening, proving her events can sustain theaters amid a post-strike slump. The album “The Life of a Showgirl” ties into themes of performance and reinvention, with the film serving as a savvy stunt to boost sales, announced amid her engagement buzz to Travis Kelce. For Johnson, the debut prompts reflection on his brand; while praised for authenticity—filmed with real MMA fighters like Ryan Bader—the commercial underperformance could impact future dramatic pursuits, though awards buzz lingers.

Other releases fared variably: “Good Boy,” an IFC horror indie, notched a solid second-best opening for its distributor, while “Avatar: The Way of Water” reissue added modest gains. Swift’s film, front-loaded with $15.8 million Friday, declined 36% Saturday but held strong, per Comscore data. As theaters eye awards season, Swift’s anomaly—minimal P&A yielding massive returns—sets a blueprint for artist-driven events, while Johnson’s flop highlights risks in genre shifts for established stars. The weekend’s $82.4 million total rose 7.7% from last year, buoyed by Swift but tempered by flops like “Smashing Machine.”

Swift’s cultural clout, amplified by 548 million social followers, contrasts Johnson’s 562 million, yet her targeted fan engagement outpaced his broader appeal. “Showgirl” not only sold albums but revitalized attendance, with AMC hailing it a “triumph.” For “Smashing Machine,” Safdie’s vision—praised for sidestepping clichés—may find legs in VOD or awards, but the $6 million start stings for A24’s priciest project. As Hollywood navigates streamer competition, Swift’s model proves fan loyalty can eclipse traditional releases, while Johnson’s pivot underscores the perils of dramatic reinvention without mass appeal.