“Here’s to Champagne problems!” a 20-something brunette in a ball gown cheers, her voice as bubbly as her lifted flute.
It’s opening night at Alamo Drafthouse for what bodes to be one of the biggest movies this fall — not a Spielberg thriller, Halloween horror flick or Oscar-baiting period piece, but a film version of the highest-grossing concert tour of all time, starring none other than planet Earth’s favorite blonde American.
Outside a few parents and straggler geriatrics , the vibe is distinctly Gen Z. Clusters of tweens, teens and college-age women raise lavender light-up “Alamo’s Version” sabers as Swift takes the stage on-screen. Despite my lack of abiding ardor and encroaching middle age, I do the same. I’m a sucker for spectacles of light, especially of the hyperfemme variety. I am also a fan of ebullient fandom in public spaces, even when it’s aimed at someone I don’t personally worship.
All of this feels good. It often feels like we’re at a live show. Thanks to huge demand and the bustling resale market, the Eras tour led to some of the most expensive — if not the most expensive — concert tickets in all of modern history, and the movie version arguably extends the quasi-religious experience for anyone who can fork over $15 . In a time when movie houses are struggling to stay open, it’s refreshing — even moving — to share a film experience with a full, exhilarated house.
Even more awkward in the show’s first hour are her interactions with backup dancers and singers, the vast majority of whom are Black or Brown women. As Swift play-acts camaraderie with them onstage, it’s as though she has a new “Black bestie” with each new refrain. The unintended effect is that she somehow comes across as even whiter than she already is.
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