Weekend Box Office Recap: Toy Story 5 Stays No. 1 as Supergirl Fails to Fly

The weekend of June 26–28, 2026 was supposed to give the summer box office a new superhero challenger. Instead, Toy Story 5 stayed firmly in control, while Supergirl opened to a soft second-place finish that immediately raised questions about DC’s post-Superman momentum.

Pixar’s Toy Story 5 earned an estimated $70 million domestic weekend, keeping the film at No. 1 for a second straight frame. It also added another $89.1 million overseas, bringing its global total to about $585 million after just two weeks in theaters.

That is a major hold after last weekend’s huge $160 million domestic launch. The film dropped, as expected, but it still dominated the marketplace and proved that the Toy Story brand remains one of Disney and Pixar’s strongest theatrical assets.

The bigger disappointment was Supergirl. The Warner Bros. and DC Studios release opened to about $38 million domestically and $68 million worldwide, well below the level expected for a major superhero title. It did not collapse completely, but it also did not feel like the next big DC step forward.

Toy Story 5 Holds No. 1 With Another Huge Weekend

The main story is still Toy Story 5. After delivering the biggest opening weekend of 2026 last week, the Pixar sequel followed it with another strong frame, earning $70 million domestic from more than 4,400 theaters.

The film’s domestic total now sits around $297.2 million, putting it on a fast path toward becoming one of the year’s biggest North American releases. Globally, the film has already reached $585 million, which means it is likely headed toward a massive final number if family audiences continue showing up through July.

What makes this run especially important is that Toy Story 5 is performing like a true four-quadrant family event. It is pulling kids, parents, nostalgic adults, and longtime Pixar fans. The franchise has been around for more than three decades, yet the audience still seems invested enough to make a fifth installment feel theatrical rather than optional.

The movie also has a timely story hook, with the toys competing for attention against technology and screen time. That gives the film a modern family angle while still keeping the emotional identity of the franchise intact.

Domestic Top 10

Here is the estimated domestic top 10 for June 26–28, 2026:

Toy Story 5 — $70.0 million Supergirl — $38.0 million Obsession — $9.8 million Jackass: Best and Last — $8.4 million Disclosure Day — $8.1 million Backrooms — $4.3 million Scary Movie — $3.0 million Masters of the Universe — $2.2 million Bleach: Thousand-Year Blood War — The Calamity — $2.0 million Star Wars: The Mandalorian and Grogu — $1.6 million Supergirl Opens Soft for DC

The weekend’s biggest question mark is Supergirl. The film opened in second place with about $38 million domestic, plus another $30 million internationally, for a $68 million worldwide debut.

That is not a total disaster, but it is a clear underperformance for a superhero film reportedly carrying a production budget around $170 million. It also came in below the expected $50–55 million domestic range, making the debut feel more like a warning sign than a confident franchise launch.

The context makes the result more concerning. DC had some positive momentum from last year’s Superman, which opened much bigger and gave James Gunn and Peter Safran’s DC Studios era a stronger start. Supergirl, however, did not come close to matching that level of audience interest.

Critical and audience response did not help. The movie reportedly landed mixed-to-poor reviews and a B- CinemaScore, which suggests word-of-mouth may not be strong enough to drive a major rebound. That matters because superhero movies often need either a huge opening or strong legs. Right now, Supergirl does not appear to have either.

The Superhero Problem Is Bigger Than One Movie

The performance of Supergirl fits into a broader superhero box office issue. The genre no longer feels like the automatic box office engine it was in the late 2010s. Audiences are more selective, and familiar characters alone are not enough to guarantee theatrical urgency.

That is especially true for female-led superhero films. After the enormous success of Wonder Woman and Captain Marvel, the category has struggled badly in the post-pandemic era. Supergirl was supposed to help reverse that pattern, or at least stabilize it. Instead, it now joins a run of superhero films that opened weaker than expected.

This does not mean DC is finished, and it does not mean audiences are done with superheroes. But it does suggest that the genre has lost its default advantage. The next DC films will need to feel more distinctive, better reviewed, and more culturally necessary if they want to rebuild momentum.

Obsession Keeps Showing Incredible Legs

While Supergirl struggled to launch, Obsession continued to prove that this summer’s horror run is not a fluke. The microbudget Focus Features breakout earned $9.8 million in its seventh weekend, good enough for third place.

That is a remarkable hold for a horror film. Most horror titles are front-loaded, opening strongly and then dropping quickly. Obsession has behaved more like a word-of-mouth phenomenon, holding week after week and continuing to attract audiences long after its initial breakout.

The film has now earned about $233.9 million domestically and another $108.9 million internationally, giving it roughly $342.8 million worldwide. For a movie reportedly made for under $1 million, that is one of the strongest return-on-investment stories of the year.

The most impressive part is that Obsession has survived direct competition from Backrooms, Scary Movie, Disclosure Day, Toy Story 5, and now Supergirl. It is no longer just a horror hit. It is one of the defining box office runs of 2026.

Jackass: Best and Last Opens Modestly

The other new wide release, Jackass: Best and Last, opened in fourth place with $8.4 million from 2,855 theaters.

That is modest compared with the franchise’s past theatrical performances, especially Jackass Forever, which opened to $23 million in 2022. But the economics are different here. The new film reportedly cost around $10 million to make, so an $8.4 million domestic opening is not a financial disaster.

Still, the debut suggests the franchise’s theatrical novelty has faded. The Jackass brand still has recognition, but this did not feel like a must-see comedy event. It may perform better with fans over time through home viewing and streaming, but theatrically, this was a quieter return than the franchise has delivered before.

Disclosure Day Falls Again

Steven Spielberg’s Disclosure Day finished fifth with $8.1 million in its third weekend. The Universal sci-fi film has now grossed about $193.7 million worldwide, which is respectable, but its domestic legs have not been as strong as the opening suggested.

The movie started as a promising original sci-fi win, but it has not held like a true summer breakout. The audience was clearly interested in the Spielberg/UFO hook, but the film has been squeezed by Toy Story 5, horror holdovers, and new franchise competition.

Still, Disclosure Day remains an important 2026 data point. It proved that an original adult-skewing sci-fi movie can open well. Its challenge has been sustaining that momentum after opening weekend.

Backrooms and Scary Movie Keep Fading, But Remain Wins

Backrooms earned $4.3 million in its fifth weekend, bringing its domestic total to about $184.2 million. The A24 horror breakout has slowed considerably after its massive launch, but that does not change the larger result. For a film built from internet horror mythology, this has been a major mainstream success.

Scary Movie added $3 million, bringing its domestic total to about $103.5 million. Like Backrooms, it was front-loaded, but it has already done enough to count as a successful revival. It proved that broad comedy can still work in theaters when it has a familiar hook and a crowd-friendly identity.

Together with Obsession, both films show how much horror and horror-adjacent titles have powered the early summer. Even as Toy Story 5 dominates, the genre audience continues to play a major role in the marketplace.

Franchise Holdovers Continue to Slide

The lower half of the chart included several franchise or brand-driven holdovers that are now fading.

Masters of the Universe earned about $2.2 million, continuing a disappointing run for a film that had major IP recognition but never generated real box office urgency. Its domestic total remains far below what would be expected from a large-scale fantasy franchise launch.

Star Wars: The Mandalorian and Grogu added $1.6 million, bringing its domestic total to about $175.3 million. That number is respectable in isolation, but underwhelming for the first theatrical Star Wars release in years. The movie opened decently over Memorial Day, then quickly lost cultural momentum to smaller, stranger, and more surprising releases.

The pattern is becoming familiar: familiar IP still helps, but it does not guarantee dominance. Audiences are rewarding brands only when the movie feels essential.

The Invite Finds a Strong Limited-Release Start

Outside the top 10, one of the weekend’s more interesting stories was Olivia Wilde’s The Invite. The A24 dinner-party comedy opened on just seven screens in New York and Los Angeles and earned about $379,104, giving it one of the year’s strongest per-screen averages at roughly $54,158.

That is a strong start for a limited release and gives A24 a potential adult-skewing summer comedy to build around. The film stars Wilde, Seth Rogen, Penélope Cruz, and Edward Norton as two San Francisco couples whose impromptu night together turns complicated.

A24 is expected to expand the movie before going wider in July. After months where comedy has mostly been represented by Scary Movie and Jackass, The Invite could give the genre a more upscale counterprogramming lane if word-of-mouth holds.

The Bigger Story: Pixar Is Strong, DC Is Unsteady, Horror Still Has Legs

This weekend clarified several 2026 box office trends at once.

First, Pixar is back in a major way. Toy Story 5 is not just coasting on brand recognition; it is performing like a true event movie. The domestic and global totals after two weeks suggest it could become one of the year’s biggest overall releases.

Second, DC still has work to do. Supergirl did not open like a movie that audiences felt they needed to see right away. After Superman gave the new DC era some momentum, this result makes the studio’s next moves more important.

Third, horror continues to be the most reliable surprise engine of the year. Obsession is still holding, Backrooms remains a major success, and even Scary Movie benefited from the horror-comedy lane. The genre has become one of the strongest box office stories of 2026.

Fourth, smaller adult titles may still have a path. The Invite did not open wide, but its limited-release performance shows that the right cast, distributor, and positioning can still create interest outside the tentpole lane.

The overall domestic weekend came in around $150 million across reporting films, a solid result driven largely by Toy Story 5 and Supergirl. But the difference between those two titles is the real story: one is playing like a four-quadrant event, while the other is already fighting questions about franchise momentum.

International Box Office

Internationally, Toy Story 5 remained the dominant title. The Pixar sequel added $89.1 million overseas this weekend and has now reached about $585 million worldwide after only two weeks. That puts it among the biggest global releases of 2026 and keeps it on track for a possible run toward the billion-dollar mark if it holds through July.

Supergirl opened with $30 million overseas, bringing its global launch to about $68 million. That is a soft start for a $170 million superhero film and leaves the movie needing strong holds to avoid becoming one of the summer’s major franchise disappointments.

Obsession continued its extraordinary global run, reaching roughly $342.8 million worldwide based on about $233.9 million domestic and $108.9 million international. That makes it one of the year’s most profitable films and one of the strongest horror stories in recent box office memory.

Disclosure Day has reached about $193.7 million worldwide, a solid but not spectacular total for Spielberg’s original sci-fi thriller. Backrooms has climbed to around $330 million globally, while Scary Movie and The Mandalorian and Grogu continue to add smaller amounts as their domestic runs wind down.

Bottom line: Toy Story 5 is now one of the clear box office giants of 2026, Supergirl opened below expectations, and Obsession kept proving that the summer’s biggest surprise story may still be horror’s staying power.