Blab Entertainment
Paramounts Scary Movie 6 Tops Weekend Box Office; A24s Backrooms and Gen-Z Horror Obsession Deliver Strong Results
Paramount Pictures’ sixth entry in the Scary Movie franchise opened on June 5, 2026 to a franchise‑best $55 million in its first three days, landing at the top of the domestic box‑office chart for the weekend. The comedy‑parody film was followed by A24’s Backrooms and the Gen‑Z‑led horror Obsession, which opened in the third and fourth positions with $25.9 million and $25.6 million respectively.
Scary Movie 6 is the latest installment in a series that began more than 25 years ago and has accumulated nearly $900 million worldwide. Variety reported that the opening is the biggest for an R‑rated comedy in 12 years, surpassing the 2014 debut of 22 Jump Street. Paramount’s marketing campaign emphasized the film’s return to the franchise’s signature politically incorrect humor, a factor that appears to have resonated with audiences.
Backrooms, released by A24 on May 29, has become the studio’s highest‑grossing film to date. Deadline noted that the science‑fiction psychological horror crossed $100 million at the U.S. box office in its first week and has now earned $212.6 million worldwide, with $135 million from North America alone. Directed by Kane Parsons in his feature‑length debut, the movie adapts the popular creepypasta of the same name and has overtaken Marty Supreme as A24’s top domestic grosser.
Obsession, a surprise hit that has been described as a Gen‑Z‑led horror, has continued a historic run. The film’s domestic gross reached $152.1 million on a production budget of only $750 k, according to reports. In its fourth weekend, Obsession’s drop was only 7 percent, the smallest decline for a non‑Christmas‑season film since Steven Spielberg’s E.T. The sustained growth has been attributed to strong word‑of‑mouth and a growing fan base.
Masters of the Universe, a re‑imagining of the Mattel He‑Man franchise, opened to $29.3 million, according to Variety. The film’s performance is far below its $200 million production budget, and it remains uncertain whether the studio will reach the $425 million break‑even threshold. The release has been noted as part of a broader trend of 1980s properties struggling to find an audience in the current theatrical landscape.
The weekend’s results illustrate a mix of established franchise appeal, independent studio success, and the growing influence of Gen‑Z‑driven content. Scary Movie 6’s strong opening demonstrates that parody films can still command large audiences when backed by a major studio. Backrooms’ record‑breaking domestic run underscores A24’s ability to produce commercially viable horror that resonates with contemporary viewers. Obsession’s sustained growth highlights the potential for low‑budget films to achieve significant returns through word‑of‑mouth and niche marketing.
Industry analysts note that the weekend’s data may influence future investment decisions. Paramount’s success could encourage further franchise revivals, while A24 may look to replicate Backrooms’ model with new horror projects. The performance of Masters of the Universe may prompt studios to reassess the viability of reviving older IPs without a clear audience.
As of now, Scary Movie 6 remains the number one film at the box office, with Backrooms and Obsession maintaining strong positions. Masters of the Universe continues to trail, and its future earnings will depend on its ability to attract broader audiences. The weekend’s outcomes provide a snapshot of the current dynamics between major studio releases, independent productions, and the evolving preferences of Gen‑Z viewers.
Scary Movie 6 is the latest installment in a series that began more than 25 years ago and has accumulated nearly $900 million worldwide. Variety reported that the opening is the biggest for an R‑rated comedy in 12 years, surpassing the 2014 debut of 22 Jump Street. Paramount’s marketing campaign emphasized the film’s return to the franchise’s signature politically incorrect humor, a factor that appears to have resonated with audiences.
Backrooms, released by A24 on May 29, has become the studio’s highest‑grossing film to date. Deadline noted that the science‑fiction psychological horror crossed $100 million at the U.S. box office in its first week and has now earned $212.6 million worldwide, with $135 million from North America alone. Directed by Kane Parsons in his feature‑length debut, the movie adapts the popular creepypasta of the same name and has overtaken Marty Supreme as A24’s top domestic grosser.
Obsession, a surprise hit that has been described as a Gen‑Z‑led horror, has continued a historic run. The film’s domestic gross reached $152.1 million on a production budget of only $750 k, according to reports. In its fourth weekend, Obsession’s drop was only 7 percent, the smallest decline for a non‑Christmas‑season film since Steven Spielberg’s E.T. The sustained growth has been attributed to strong word‑of‑mouth and a growing fan base.
Masters of the Universe, a re‑imagining of the Mattel He‑Man franchise, opened to $29.3 million, according to Variety. The film’s performance is far below its $200 million production budget, and it remains uncertain whether the studio will reach the $425 million break‑even threshold. The release has been noted as part of a broader trend of 1980s properties struggling to find an audience in the current theatrical landscape.
The weekend’s results illustrate a mix of established franchise appeal, independent studio success, and the growing influence of Gen‑Z‑driven content. Scary Movie 6’s strong opening demonstrates that parody films can still command large audiences when backed by a major studio. Backrooms’ record‑breaking domestic run underscores A24’s ability to produce commercially viable horror that resonates with contemporary viewers. Obsession’s sustained growth highlights the potential for low‑budget films to achieve significant returns through word‑of‑mouth and niche marketing.
Industry analysts note that the weekend’s data may influence future investment decisions. Paramount’s success could encourage further franchise revivals, while A24 may look to replicate Backrooms’ model with new horror projects. The performance of Masters of the Universe may prompt studios to reassess the viability of reviving older IPs without a clear audience.
As of now, Scary Movie 6 remains the number one film at the box office, with Backrooms and Obsession maintaining strong positions. Masters of the Universe continues to trail, and its future earnings will depend on its ability to attract broader audiences. The weekend’s outcomes provide a snapshot of the current dynamics between major studio releases, independent productions, and the evolving preferences of Gen‑Z viewers.
