Record-breaking box office for Backrooms and Obsession has opened the door for twentysomething YouTube creators as the industry rethinks what audiences want

At this time last year, the idea of a wide-release feature film-maker cutting their teeth on YouTube was, if not unheard of, certainly still a niche origin story. Siblings Michael and Danny Philippou had just released Bring Her Back, the follow-up to their surprise horror hit Talk to Me, to pretty-good reviews and OK box office; clearly they would continue to work, but the slightly diminished returns didn’t predict a YouTube explosion. Nor did the outright lousiness of Shelby Oaks, from longtime YouTube film critic Chris Stuckmann, when it premiered in theaters later in 2025. Generous horror-festival buzz died down as more people actually laid eyes on the movie; Stuckmann was an obvious enthusiast, and some saw promise in his first effort, but a clumsy found-footage pastiche without much emotional sense didn’t seem like the next big thing, either.

But in 2026, something has shifted. In January, YouTuber Markiplier self-released his adaptation of the video game Iron Lung to theaters, and it outgrossed any number of big-studio titles. Then Curry Barker, whose comedy sketches have been a YouTube fixture, unveiled his feature debut Obsession. The film, made for under a million dollars, has become the box office phenomenon of the summer so far, managing a virtually unheard-of feat when its second and third weekends actually outgrossed its first. Obsession is sharing multiplex space with Backrooms, directed by 20-year-old Kane Parsons, who previously brought the spooky internet meme to life in a series of YouTube shorts. Despite being set in a series of purgatorial, sparsely furnished, fluorescent-lit “liminal spaces”, it was the top movie at the North American box office this weekend, poised to become the biggest-grossing movie from distributor A24 in a matter of days. Backrooms also opened to bigger numbers than any number of starrier or bigger-brand 2026 titles like Wuthering Heights, Scream 7, The Devil Wears Prada 2 or the last Pixar movie. That makes three YouTube-trained film-makers who have presided over some of this year’s biggest and/or most surprising hits. With them have come countless social media posts about how YouTube, not film school, provides the real training tomorrow’s directors need.

The roots of AI in rightwing ideology is examined in Valerie Veatch’s enjoyable doc, including an array of colourful, often crazed, figures

Director Valerie Veatch made her name with documentaries such as Love Child (about an online gaming-addicted couple whose child died of malnutrition) and Me at the Zoo (about American vlogger Cara Cunningham), films that explore the intersection of real-world subcultures and internet communities. Her latest continues in this vein, although its self-set remit is a bit broader, more urgent and germane to everyone right now: the pursuit of artificial intelligence, its dark history in eugenics and highly debatable utility today (despite the stock-market bubble pushing the value of a half-dozen companies towards the stratosphere).

The thrust of the film is largely polemic, guiding the viewer towards AI-sceptical conclusions one persuasive soundbite at a time. Nevertheless, it also serves as a very useful, straightforward primer on AI history, touching on a dazzling array of colourful, often crazed figures, including Victorian British eugenicist Francis Galton, Silicon Valley founding father and overt racist William Shockley and current-day jillionaire jerk Elon Musk. Sadly, the film is not so up-to-date that it covers Musk and former friend-turned-foe Sam Altman’s recent courtroom brawl, but that doesn’t detract from the thrust of Veatch and her interviewees’ arguments.