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Spider-Man: Brand New Day Ends Avengers: Endgame’s Six-Year Domestic Box Office Reign

Spider-Man: Brand New Day earned $360 million domestically, surpassing Avengers: Endgame’s record for the biggest opening weekend.

Spider-Man: Brand New Day has officially dethroned Avengers: Endgame as the holder of the biggest domestic opening weekend in box office history. The Sony Pictures release, starring Tom Holland, also pulled in an estimated $932 million globally, making it the second-biggest worldwide debut ever.

The milestone, confirmed by Sony chairman and CEO Tom Rothman, marks a historic moment for the studio and reinforces the enduring theatrical appeal of marquee superhero properties.

The film’s $360 million domestic haul narrowly surpasses the $357.1 million earned by Avengers: Endgame in April 2019, ending a six-year hold on the record for Disney and Marvel Studios.

Monday’s final numbers, reported by Variety, confirmed the achievement after Sunday’s early estimates had placed the fourth Tom Holland-led Spider-Man installment at $355 million — just $2 million shy of the record. The final tally erased that gap and then some.

Globally, Brand New Day opened to an estimated $932 million, according to Forbes, making it the second-highest worldwide debut in history behind only Endgame‘s staggering $1.223 billion.

The film is now predicted to surpass the $2 billion mark at the global box office by the end of its theatrical run, a projection buoyed by an unusually clear August release calendar.

Rothman: “Records Are Made to Be Broken”

Rothman addressed the achievement in a statement to Variety, expressing gratitude across the board.

“Wow! 360 million thank-yous to all the filmmakers, actors, producers, and to my colleagues at Sony, who created such a fantastic film and an exceptional marketing and distribution campaign.”

“Records are made to be broken, but we will take great pride in this one, for as long as we hold it.”

The Sony chief also took a pointed jab at ongoing skepticism about the health of theatrical exhibition.

“So, I guess movies aren’t dead after all?” Rothman told Variety.

“What happened is miraculous. Spider-Man is uniting people across cultures and ages. People can piss on theatrical all they want, but that’s one thing that only movies — and movie theaters — can do.”

The comments come as the industry continues to debate the viability of theatrical releases in an era of streaming dominance. Brand New Day‘s performance offers a powerful counterargument, demonstrating that a well-executed event film can still draw massive crowds to cinemas.

Open Runway and IMAX Expansion

Sony is wasting no time capitalizing on the momentum. The studio is expanding Spider-Man: Brand New Day to IMAX screens starting this weekend, a strategic move designed to maximize revenue during a period with little major competition.

August’s release calendar is notably sparse, giving the film an open runway to dominate the box office for weeks to come.

Despite being a fairly standalone story compared to some of Peter Parker’s previous big-screen adventures, the film resonated powerfully with audiences.

The question now is whether Avengers: Doomsday, set for release this December, can reclaim the domestic opening weekend record for the Avengers franchise.

When asked about the possibility of Tom Holland returning for another Spider-Man movie, Rothman was unequivocal.

“I certainly, certainly hope,” he told Variety.

“I heard Tom say at some point that he wanted to continue, and we would love it if he did.”

Pressed on whether there is “a world in which there will be another Spider-Man sequel with Tom Holland,” Rothman answered simply:

“Yes.”

The confirmation will come as welcome news to fans who have followed Holland’s portrayal of the web-slinger across six MCU appearances and now four solo outings.

For Sony, the record-breaking debut of Brand New Day not only validates the studio’s bet on a more self-contained Spider-Man story but also secures the character’s future as one of the most bankable properties in Hollywood.

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D. Roberts

D. Roberts covers movies and TV for The Pop Reporter — big studio releases, streaming shows, renewals, and casting news. He writes the news and the reviews, and he explains what a story means, not just what happened: which studio is taking a risk, what it says about a franchise, who it affects. His reviews give a clear opinion and back it up with what's actually on screen.