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Taylor Swift's Eras Tour is 1st Tour to Gross over $1 Billion, Pollstar Says

FILE PHOTO: Taylor Swift attends a premiere for Taylor Swift: The Eras Tour in Los Angeles, California, US, October 11, 2023. REUTERS/Mario Anzuoni/File Photo
FILE PHOTO: Taylor Swift attends a premiere for Taylor Swift: The Eras Tour in Los Angeles, California, US, October 11, 2023. REUTERS/Mario Anzuoni/File Photo
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Taylor Swift's Eras Tour is 1st Tour to Gross over $1 Billion, Pollstar Says

FILE PHOTO: Taylor Swift attends a premiere for Taylor Swift: The Eras Tour in Los Angeles, California, US, October 11, 2023. REUTERS/Mario Anzuoni/File Photo
FILE PHOTO: Taylor Swift attends a premiere for Taylor Swift: The Eras Tour in Los Angeles, California, US, October 11, 2023. REUTERS/Mario Anzuoni/File Photo

Taylor Swift's Eras Tour is the first tour to cross the billion-dollar mark, according to Pollstar's 2023 year-end charts.
Not only was Swift's landmark Eras Tour the No. 1 tour both worldwide and in North America, but she also brought in a whopping $1.04 billion with 4.35 million tickets sold across 60 tour dates, the concert trade publication found.
Pollstar data is pulled from box office reports, venue capacity estimates, historical Pollstar venue ticket sales data, and other undefined research, collected from Nov. 17, 2022 to Nov. 15, 2023.
Representatives for the publication did not immediately clarify if they adjusted past tour data to match 2023 inflation in naming Swift the first to break the billion-dollar threshold.
Pollstar also found that Swift brought in approximately $200 million in merch sales and her blockbuster film adaptation of the tour, “Taylor Swift: The Eras Tour,” has reportedly earned approximately $250 million in sales, making it the highest-grossing concert film of all time.
According to their estimates, Pollstar predicts a big 2024 for Swift as well. The magazine projects the Eras Tour will once again reach $1 billion within their eligibility window, meaning Swift is likely to bring in over $2 billion over the span of the tour.
Worldwide, Swift's tour was followed by Beyoncé in second, Bruce Springsteen & The E Street Band in third, Coldplay in fourth, Harry Styles in fifth, and Morgan Wallen, Ed Sheeran, Pink, The Weeknd and Drake.
In North America, there was a similar top 10: Swift, followed by Beyoncé, Morgan Wallen, Drake, P!nk, Bruce Springsteen & The E Street Band, Ed Sheeran, George Strait, Karol G, and RBD.
Beyond the Swift of it all, 2023 was a landmark year for concert sales: worldwide, the top 100 tours of the year saw a 46% jump from last year, bringing in $9.17 billion compared to 2022's $6.28 billion.
In North America, that number jumped from $4.77 billion last year to $6.63 billion.
Earlier this week, Swift was named Time Magazine's Person of the Year. Last month, Apple Music named her its artist of the year; Spotify revealed she was 2023’s most-streamed artist globally, raking in more than 26.1 billion streams since Jan. 1 and beating Bad Bunny's three-year record.

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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.