1,687 days is a long time for fans to go without a live-action Spider-Man movie. In fact, it is the second-longest gap between live-action Spider-Man films, after the 1,887-day gap between Spider-Man 3 and The Amazing Spider-Man, which marked the end of Maguire’s franchise and the start of Garfield’s Amazing Spider-Man duology.
Judging by the pre-sale numbers and current domestic and global projections, it’s clear fans have been waiting on this one for a long while, and the hype for the next chapter of Peter Parker’s life is not only real but seemingly quite inestimable. With Destin Daniel Cretton at the helm, Parker steps fully into adulthood this time — broke, lonely, achingly relatable in the way the character always works best. He is now a full-time wallcrawler and no longer a wallflower.
The five-year gap since fans last saw him on screen, and Holland and Zendaya’s on-screen chemistry evolving into them tying the knot in real life in the years between, have only further fueled this hype.
According to the latest tracking making the rounds, the Avengers: Doomsday trailer didn’t just manage to sell tickets for its opening weekend five months in advance, but has also given a massive boost to Brand New Day ticket sales. Current projections have the film on pace for $60 million-plus in previews alone, on par with Endgame or possibly better, with an opening weekend that could clear $300 million. There are still ten days for that number to move in either direction, and its critical reception and word of mouth will do a lot of the heavy lifting. But if word of mouth holds, $300 million is now a real, live possibility.
Sit with that for a second, because the comparison underneath it is almost absurd: if Brand New Day gets anywhere near No Way Home’s opening weekend, that means a grounded, street-level, single-hero Spider-Man film is closing in on the debut of a multiversal, three-Spider-Man, fan-service crossover event, even accounting for inflation and years of rising ticket prices. That’s not supposed to be possible.
With roughly $40 million, Brand New Day posted the second-best single-day pre-sale total of the entire post-pandemic era, trailing only its own predecessor, No Way Home. The film now holds the record for the fourth-best pre-sales of all time, behind Avengers: Endgame ($357.10 million), Spider-Man: No Way Home ($260.10 million), and Star Wars: The Force Awakens ($247.96 million).
The @Avengers Doomsday trailer/tickets didn't just sell a lot of tickets for itself, it also led to a massive spike in @SpiderMan Brand New Day sales yesterday. The pent up MCU demand is going to carry the opening weekend to heights only one other movie in history has ever seen. pic.twitter.com/AJRBrDz27W
— EmpireCity Box Office (@EmpireCityBO) July 21, 2026
Box Office Theory previously had Brand New Day pegged as the first film since Deadpool & Wolverine to clear $200 million in a domestic opening weekend — a threshold that’s been breached exactly twice since the pandemic. Last week, tracking had the film poised to open around $228 million domestically, with the possibility of surpassing the $250 million mark if it reaches the upper end of the estimate. If that were to happen, Tom Holland would have officially appeared in all four of the films that hold the title for the biggest opening weekend of all time.
Biggest Domestic Opening Weekend of All Time
- Avengers: Endgame (2019): $357,115,007
- Spider-Man: No Way Home (2021): $260,138,569
- Avengers: Infinity War (2018): $257,698,183
- Star Wars: The Force Awakens (2015): $247,966,675
- Star Wars: The Last Jedi (2017): $220,009,584
- Deadpool & Wolverine (2024): $211,435,291
- Jurassic World (2015): $208,806,270
- The Avengers (2012): $207,438,708
- Black Panther (2018): $202,003,951
- The Lion King (2019): $191,770,759
We have been talking about the waning dominance of the superhero genre, at least as it once was, for the last couple of years, and the discussion has once again found a catalyst with Supergirl’s rather incredulous box office performance. The film has failed to capture the zeitgeist in any meaningful way and is poised to suffer a box-office fate even worse than Morbius, despite costing $100 million more. While we may no longer be in the days when even Captain Marvel can open to positive reviews and make a billion dollars, Spider-Man is immune to all of that and the genre’s trends in general. He really is the golden goose that is ever so reliable, and the global projections are an additional testament to exactly that.
Brand New Day poised to make over $500 million on Opening Weekend Globally after securing China release on IMAX.
Early worldwide tracking has the film opening between close to $550 million globally. To put that in perspective: No Way Home, without a China release at all, still nearly cracked $2 billion lifetime. Even if Brand New Day is not riding nostalgia, it does find itself in an extremely strong position.
The film is currently the most anticipated July release in the country, on pace to be the first comic book film to clear $100 million in Mainland since Spider-Man: Far From Home pulled in $199 million back in 2019. It also picked up something close to a gift: a two-week exclusive IMAX window beginning July 29, ahead of Christopher Nolan’s The Odyssey release in Mainland on August 14.
If the film surpasses $521 million in its opening weekend, it would gross more than any of Marvel’s 2025 releases made in their entire runs in a single weekend globally.
Billion Dollar is the floor for Your Friendly Neighborhood Spider-Man.
When adjusted for inflation, seven of the eight live-action Spider-Man films released this century — Raimi’s trilogy, The Amazing Spider-Man, all three Homecoming-era films — have crossed a billion dollars worldwide. The only film that has not, The Amazing Spider-Man 2, still translates to $968 million when adjusted for current inflation.
It is almost unfathomable that this is the floor for the webcrawler. Both Spider-Man and Batman are undeniably the biggest and most beloved superheroes, and are outliers in terms of the typical trends that follow the genre. Even among both of them, J. Jonah Jameson’s worst nemesis arguably stands alone at the summit. He is powerful enough to go against space gods, human enough that he is still just as broke as most of us and is always a victim of bad timings and misunderstandings when it comes to his relationships, these traits define him as much as the powers do — a needle almost nobody else in the genre threads as cleanly, not Batman with his infinite resources, not Superman with his god-tier remove.