Early reports show Scream 7 brought in $7.8 million in preview ticket sales on Thursday night, a new high for the franchise. The previews began with a 6:00 PM fan screening and broader showings at 6:30 PM across premium formats; all preview revenue is attributed to those Thursday sessions. The total surpasses an earlier exclusive that reported $7.5 million, and raises the central question for weekend tracking: how much of the film’s weekend gross will be frontloaded? The film opens as the only major studio wide release this weekend and is playing in 52 overseas territories.
Key Takeaways
- Scream 7 posted $7.8M in Thursday-night previews, a franchise record for pre-opening grosses.
- All preview revenue came from Thursday screenings, beginning with a 6:00 PM fan event and wider 6:30 PM previews; the film is not in 3D but is in IMAX, ScreenX, D-Box and other PLF auditoriums.
- By comparison: Scream (2022) had $13.3M in previews/first Friday (44% of its $30M 3-day), while Scream VI had $19.2M previews/first Friday (43% of its $44.4M opening).
- RelishMix reports Scream 7’s pre-release social reach at 264.5M—about 11% above horror-franchise norms but roughly 27% below Scream VI’s 360.5M reach.
- Critical reaction is softer: Scream 7 holds a 38% critics score and a 79% audience score on Rotten Tomatoes; prior entries scored higher with critics and audiences.
- The picture’s net production cost was $45M before P&A and is co-financed 50/50 by Spyglass and Paramount; the six previous Scream films have grossed $908.5M worldwide combined.
Background
The Scream franchise, launched in 1996, has been commercially resilient across multiple revivals and creative teams. The 2022 Spyglass/Paramount relaunch and the 2023 follow-up both set new franchise markers: the 2022 film opened amid a Martin Luther King holiday window that affected its multi‑day totals, while Scream VI established a then-record opening weekend. Studio strategies for the series have favored eventized exhibition—fan previews, premium-screen bookings and nostalgia-driven marketing—to maximize early ticketing momentum.
Social-media footprint and star power have become central to modern horror rollouts. Neve Campbell’s return as Sidney Prescott and Courteney Cox’s participation anchor the publicity narrative; Campbell’s engagement on social platforms and Cox’s large followings aid pre-activation. At the same time, different entries in the franchise have drawn diverging critical and audience responses, complicating box-office forecasts: some entries gained strong audience support despite mixed reviews, an important factor for weekend hold and word-of-mouth conversion.
Main Event
Thursday’s preview sessions for Scream 7 began with a premium 6:00 PM fan screening featuring extra content and merchandise, followed by wider 6:30 PM previews. Exhibitors report that all preview revenue for the title was recorded on Thursday night, and early tallies placed that total at $7.8M. An earlier exclusive update had listed $7.5M; the $7.8M figure supersedes that and is now being treated as the official preview total by trackers.
The seventh installment is directed by original franchise writer Kevin Williamson, his first time directing within the 30-year series. The story returns Sidney Prescott (Neve Campbell) to Pine Grove, Indiana, now accompanied by her daughter (Isabel May), both targeted by Ghostface assailants. Radio Silence (Matt Bettinelli‑Olpin and Tyler Gillett) serve as producers after directing the 2022 and 2023 films; Courtney Cox’s Gale Weathers and other recurring characters appear as part of the ensemble.
Unlike Scream VI, which was released in 3D, the new film is not playing in 3D but is booked in IMAX and ScreenX auditoriums for the first time for the franchise and is also available on D-Box and other premium large-format screens. Paramount did not provide comment when asked. The film is the only major studio wide release this weekend, which concentrates weekend attention and could influence theater allocation and per‑theater averages.
Analysis & Implications
The $7.8M preview number establishes a new franchise high for pre‑opening receipts, but historical patterns suggest previews can over-index relative to weekend totals. For instance, the 2022 entry’s previews and first‑Friday accounted for 44% of its 3‑day intake during a four‑day MLK window; Scream VI’s previews represented about 43% of its opening weekend. If Scream 7 follows those patterns, a large share of the weekend gross could be concentrated in the opening day(s), raising the risk of steep drops in subsequent days.
Format distribution matters: booking in IMAX, ScreenX and other premium formats typically lifts per‑screen averages and ticket revenue, especially for fan-driven events. The choice to forego 3D in favor of other premium formats signals a targeted revenue strategy: maximize higher‑priced seats rather than rely on stereoscopic premiums. That may help the film’s top-line even if ticket volume is frontloaded.
Social metrics point to solid but not overwhelming pre-release reach. RelishMix’s 264.5M social universe places Scream 7 above typical horror norms but well shy of Scream VI’s 360.5M. That gap suggests buzz intensity may be diluted compared with the previous installment, which could flatten multiplier effects after opening day. Conversely, qualitative signals—nostalgia for Sidney Prescott and actor-driven engagement—could convert strong audience turnout into positive word-of-mouth, improving legs beyond an initial surge.
Comparison & Data
| Film | Previews / First Friday | 3‑Day Opening | Notes |
|---|---|---|---|
| Scream (2022) | $13.3M (previews/1st Fri) | $30.0M (3‑day) | Released over MLK 4‑day window ($33.8M 4‑day) |
| Scream VI (2023) | $19.2M (combined) | $44.4M (3‑day) | Franchise record opening at the time; 3D release |
| Scream 7 (2026) | $7.8M (previews, Thu) | Weekend total pending | Playing IMAX/ScreenX/D‑Box; not in 3D; $45M net production cost before P&A |
The table highlights that preview totals and the share they represent of opening weekends can vary widely depending on release windows and format strategy. Market observers will watch Friday-to-Sunday drops and per‑theater averages to assess sustainability; premium format revenue could boost totals even if overall attendance is concentrated.
Reactions & Quotes
Industry analytics firms and early audience chatter provide mixed signals on momentum and sentiment.
RelishMix characterized the early buzz as driven by nostalgia and strong fan recognition for Sidney Prescott, noting solid social engagement though below the reach of the previous installment.
RelishMix (marketing analytics)
A box‑office analyst said the preview figure is encouraging but cautioned that historical Scream patterns often show sizable frontloading, which could compress weekend multipliers if mid‑week anticipation is already spent.
Box‑office analyst (industry)
Unconfirmed
- Weekend total and final domestic opening figure remain unconfirmed until official weekend box‑office reporting concludes Sunday night and Monday morning.
- How front‑loaded Scream 7’s weekend will be—anticipating steep early intake versus sustained legs—is not yet verified and depends on Friday and Saturday audience behavior.
- Territorial grosses and split between domestic and international receipts for opening weekend are pending; weekend international tallies will vary by territory reporting schedules.
Bottom Line
Scream 7’s $7.8M in previews is a clear franchise preview record and an early commercial win, but it does not by itself determine weekend success. Historical Scream entries show previews can represent a large share of weekend totals, so industry watchers will be watching Friday-to-Sunday trends and hold rates to judge true momentum.
The film’s premium-screen strategy and the star-driven return of Neve Campbell provide upside for higher per‑ticket revenue, while social reach and mixed critical reception inject uncertainty into long‑term legs. Final weekend tallies and international reporting will clarify whether Scream 7 converts its preview strength into a sustained box‑office run or registers primarily as a frontloaded event.