The first trailer for Greta Gerwig’s “Narnia: The Magician’s Nephew” drew 481.3 million views in its first seven days, roughly double what her “Barbie” trailer managed in the same span, according to data from WaveMetrix reported by Deadline.
The tally also tops the first-week totals for “The Super Mario Galaxy Movie” at 281.6 million, “Barbie” at 240 million and “Wonka” at 237.2 million. Word of the figures emerged after Netflix’s quarterly earnings call Tuesday, where executives discussed their widening commitment to theatrical releases.
Netflix did not leave the numbers to chance. It bought global advertising for the trailer across TikTok, Reddit, Meta, X, Snap, Pinterest and YouTube, and placed spots on linear and connected TV, including Sunday NFL broadcasts, plus out-of-home displays. That spending inflates the comparison with rivals, and trailer views have never guaranteed ticket sales.
The reception has not been uniformly warm. Fan-oriented outlets report a climbing dislike count on the trailer and a stream of skeptical comments. Gerwig’s adaptation also arrives amid reports of a troubled production, a budget estimated between $250 million and $280 million, and a falling-out between the director and former Netflix film chief Dan Lin, who was fired last week. Netflix has not commented on those accounts.
The stakes explain the marketing muscle. “Narnia: The Magician’s Nephew” is Netflix’s largest theatrical release yet. It opens wide Feb. 12, 2027, with IMAX previews Feb. 10, and reaches Netflix subscribers April 2 after a 49-day exclusive window in cinemas. Sony Pictures is handling part of the theatrical rollout. Netflix has moved toward longer theater runs and, according to coverage of the call, has begun reporting box office grosses.
The ensemble includes Daniel Craig, David McKenna as Digory, Beatrice Campbell as Polly and Emma Mackey. The story follows two children and an eccentric inventor through the multiverse, where they meet Aslan and the White Witch, Jadis.
The trailer numbers give Netflix a talking point as it tries to persuade a company-wide audience, long trained to watch at home, to buy tickets. Whether the interest converts depends on the film itself, and the first test arrives in February.
