Staff Reports
Hollywood keeps telling us it knows what audiences want. Then two small, original horror films show up and make a mockery of the sermon. Backrooms and Obsession aren’t just surprise hits; they are proof that audiences — especially younger ones — are turning back toward story, craft, and real scares, not lecture halls disguised as blockbusters.
Why Backrooms and Obsession Matter
Let’s be blunt: Backrooms and Obsession did something the Hollywood machine has been promising for years but rarely delivering — they made original, director‑driven stories into big box‑office reality. Backrooms gave A24 one of its biggest openings ever, reportedly in the roughly $80M–$85M range domestically. Obsession pulled off an even stranger feat: a rare mid‑run surge and a run that pushed it past $100M domestically for Focus Features. Both films were made by very young, internet‑native directors who cut their teeth on YouTube and social platforms — Kane Parsons and Curry Barker — and both films turned viral instincts into old‑fashioned moviegoing energy.
A cultural correction — and a rebuke to “woke” movies?
Call it what you will: a correction, a revolt, a simple demand for entertainment that actually entertains. Producers like Jason Blum have even compared the moment to the 1970s — a new wave of edgy filmmakers grabbing theaters. Christopher Nolan noted younger audiences are rejecting “AI slop” and craving tactile filmmaking. Curry Barker himself has pushed back against what he called formulaic studio “slop,” arguing audiences want original, well‑told stories instead of corporate sermonizing. From a conservative viewpoint, this feels less like an accident and more like a long overdue rejection of movies that put ideology before plot, character, or craft. The public votes with their feet, and right now they’re showing up for smart, scary, hands‑on cinema.
Counterpoints — don’t confuse a trend with a revolution
All that said, don’t let the rush of cheering drown out simple facts. Two breakout horror hits don’t prove “wokeism” is dead in Hollywood overnight. Analysts rightly point to franchise fatigue, smarter targeted marketing, and the built‑in economics of low‑budget horror — good word‑of‑mouth can carry a small film unusually far. Studios still have big tentpoles with conscious messaging that do well in other markets and demographics. So this is a meaningful pivot, not an apocalypse for socially conscious filmmaking. It is, however, a clear message: when studios stop assuming audiences want lectures, and start betting on original filmmakers again, they can still make serious money.
What Hollywood should do next
Studios that read the room will double down on the pipeline bringing creator‑economy talent into features. If you can hire a young director who built a following online, give them the freedom to craft scares and set pieces, and market straight to the communities that already care — do it. This is a recipe for hits without expensive franchise babysitting or PR sermons. For conservatives watching the culture wars, the lesson is simple: entertainment that respects audiences and tells stories wins. Hollywood can either keep lecturing and losing, or it can rediscover how to make movies people actually want to see in a theater. Backrooms and Obsession showed the way — and the studios that ignore that lesson should expect a steady, humiliating trickle of box‑office losses until they learn it.
