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‘Obsession,’ ‘Backrooms’ Ushering in Shift Similar to ‘Easy Rider’ in 1970s, Sony Pictures Classics Co-Chief Says
The success of Kane Parsons’ “Backrooms” and Curry Barker’s “Obsession”, made by young YouTube creators, is drawing Gen Z audiences back to cinemas and prompting Hollywood to reassess theatrical filmmaking. Sony Pictures Classics co-president Michael Barker compared their impact with the industry shift associated with “Easy Rider” in the 1970s, while Academy CEO Bill Kramer described the films as evidence that online fandoms can successfully move into cinemas.
“Backrooms”, released by A24, has earned about $400 million, and Parsons is developing a sequel while resisting restrictive genre labels. Panellists argued that younger audiences are seeking freshness and a slower, more communal experience than algorithm-driven short-form content; Mattel’s Robbie Brenner also said a “Barbie” sequel is wanted and will probably happen eventually.
In short
- YouTube-born films are bringing more young people back to cinemas.
- “Backrooms” has grossed roughly $400 million.
- Executives see a possible major shift in cinema culture.
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The strongest fair case each way — we don't pick a winner.
The case for
This genuinely represents a significant industry shift worth celebrating. Young creators are bringing authentic voices and audiences back to cinemas, with Gen Z choosing communal theatrical experiences over algorithm-driven content, which suggests a real appetite for the type of cinema these filmmakers offer. The comparison to 'Easy Rider' captures something genuine: a moment when outsider perspectives and younger audiences reshape what studios greenlight and how films reach audiences.
The case against
Whilst these films' success is notable, declaring an industry shift comparable to 'Easy Rider' risks overstating the evidence. Two successful releases from YouTube creators don't yet establish a sustainable trend rather than exceptional outliers; the broader theatrical market still faces structural challenges from streaming. Caution is warranted about attributing lasting significance to what may prove isolated successes, and the evidence for fundamentally altered audience behaviour or studio strategy remains thin.
Explained simply
Generation Z has grown up consuming entertainment largely through online platforms, where algorithms serve up short, personalised content designed to keep viewers engaged. This has created a challenge for the film industry, which values cinemas as culturally important but has struggled to attract younger audiences to theatrical releases.
Recently, films made by creators who initially built audiences on platforms like YouTube have found success drawing Gen Z viewers to cinemas. Two notable examples, 'Backrooms' and 'Obsession', were made by young filmmakers whose substantial online followings translated into cinema attendance.
These successes point to what viewers may seek in cinemas. Compared with algorithm-driven online content, theatrical films provide complete narratives and higher production values. Crucially, they also offer the communal experience of watching with others in a shared space rather than alone.
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