Taylor Swift’s Cinematic Takeover: The Shocking Theater Disruption!

As we’re all well aware, the world seems to revolve around Taylor Swift these days. USA Today is even on the hunt for a full-time Taylor Swift reporter, MTV had a dedicated camera on her during the recent VMA Awards, where a staggering 865,000 viewers watched her snag nine Moonpeople, setting a new record for a female artist in a single evening. Notably, MTV also saw its highest ratings in three years, thanks to the Taylor Swift phenomenon.

This sets the stage for the disruption caused by “Taylor Swift: The Eras Tour,” a filmed concert event slated to debut in theaters worldwide on October 13. The ripples of this release have already sent the October release schedule into chaos, but the implications go beyond that.

There’s the intriguing role played by AMC Theaters Distribution, the unusual regulations imposed on the theaters showing the film, and the fact that traditional studios have been bypassed entirely. And then, there’s this perplexing question: Three months after the successful simultaneous releases of “Barbie” and “Oppenheimer,” why did everyone shy away from the opportunity to repeat that feat?

“The Exorcist: Believer,” which was the sole major studio release scheduled for October 13, reacted to “Eras” by moving its release date up by one week to October 6. AMC’s announcement on August 31 regarding Swift’s film caught Universal off guard, as changing a marquee title’s release date just six weeks before launch is a costly move. (Fortunately, “Believer” now enjoys a holiday weekend slot with Indigenous Peoples/Columbus Day on Monday, October 9.)

In theory, “Eras” and “Believer” could have coexisted, as their audience overlap was limited. The real concern was the battle for access to the largest screens, including IMAX and other premium presentations. Moreover, there’s no scenario where Swift loses out on media coverage to Satan.

Considering the crowded summer schedule, “Barbie” and “Oppenheimer” had no choice but to coexist. Any date they chose would have meant intense competition. Surprisingly, after a summer saturated with sequels, this particular date turned out to be a golden opportunity for both films, giving rise to the “Barbenheimer” phenomenon.

Moving forward, on October 20, Paramount is set to release Martin Scorsese’s “Killers of the Flower Moon” for Apple. This 206-minute film demands premium screens and ample seating, and Scorsese now finds himself facing Swift in the second weekend. Both films are vying for prime presentation and the higher ticket prices that come with it.

Swift’s team recognized an opening in the market created by these developments. (It’s worth noting that Swift is a SAG member, and the film received a waiver.) If “Eras” manages to gross $200 million, as some speculate, it could potentially signal a new era in theater programming. However, Swift’s level of popularity is hard to match, and there are few other properties that can draw such massive audiences. Exhibitors had to make concessions: distributors typically don’t dictate ticket prices, and pricing varies widely by region and theater. Nevertheless, for “Eras,” it’s a uniform $19.89, with children’s tickets priced at $13.13.

Theaters also agreed to the film’s scheduling terms, with no showings permitted on Mondays through Wednesdays. Studios took note of how exhibitors bent the rules to accommodate Swift’s requirements, such as excluding loyalty memberships from “Eras.” This begs the question: If Swift can do it, why not Marvel?

This film marks a significant milestone for AMC Distribution, despite primarily dealing with smaller, one-off projects. However, it’s unlikely to elevate the division to a major player status. While AMC is the official distributor, it isn’t heavily involved in acquisition, marketing, release strategy, publicity, or negotiation. These aspects are tightly controlled by Team Swift, with Variance Films handling theater selection and film rental collection.

AMC and its CEO, Adam Aron, deserve credit for the swift turnaround into theaters, but they also face criticism for blindsiding rival theaters and studios, as well as for an initial press release that implied the film was exclusive to AMC. This strategic move may have been an attempt to boost their declining stock price, but it didn’t yield the desired results. On August 30, the day before the surprise announcement, AMC’s stock closed at $12.73. As of today, September 14, it’s dropped by 36 percent to $8.14.

Furthermore, the release of “Eras” comes just two weeks after the re-release of “Stop Making Sense,” Jonathan Demme’s 1984 Talking Heads concert film. Interestingly, both are concert films, but Demme’s work is revered as a masterpiece of filmmaking. “Eras,” on the other hand, was captured during three of Swift’s performances in Los Angeles between August 3-9, with the film’s October 13 release date announced just three weeks later. This situation has shown theaters that they can successfully sell content in addition to traditional movies, potentially leading to increased revenue for them.

In conclusion, the Taylor Swift phenomenon has disrupted the film industry in unexpected ways, from release date shuffling to pricing strategies and theater scheduling. While “Eras” is a unique case due to Swift’s immense popularity, it raises questions about the future of theater programming and distribution strategies. As we eagerly anticipate the release of “Taylor Swift: The Eras Tour” on October 13, it’s clear that the influence of this global superstar extends far beyond her music.