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From YouTube Shorts to $350 Million: How Kane Parsons Backrooms Became A24s Highest-Grossing Film
From a bedroom‑sized computer screen to a $350 million blockbuster, Kane Parsons’ journey rewrote the rules of horror cinema. The 20‑year‑old YouTuber from Petaluma, California, turned his viral web series into the highest‑grossing film ever released by A24. The company’s 2026 release, Backrooms, opened in the United States on May 29 and has earned more than $348 million worldwide, making Parsons the youngest director to debut at number one on both the domestic and global box‑office charts.
Backrooms began life as a 24‑episode YouTube series that premiered on January 7, 2022. Parsons—who also goes by Kane Pixels—produced the first episode with Blender at age 15. The series follows a fictional research institute that probes an extradimensional complex of empty rooms, and it quickly amassed tens of millions of views. In February 2023, A24 announced that it would adapt the series into a feature film, with Parsons at the helm.
Filming kicked off in summer 2025 and wrapped in August of the same year. The screenplay was written by Will Soodik, who replaced original writer Roberto Patino. Backrooms premiered at the Aero Theatre in Los Angeles on May 7, 2026, before its wide theatrical release. Critics praised the movie’s blend of psychological horror and found‑footage style, and it has become the second‑highest‑grossing horror film of 2026.
The film’s success illustrates a broader trend in which internet‑based horror content is moving into mainstream cinema. The genre’s roots can be traced to the late 1990s, when The Blair Witch Project used a website to present “evidence” and create a mythic narrative that drove audiences to the box office. In the 2000s, the rise of creepypasta—user‑generated horror stories shared on forums and imageboards—produced iconic figures such as Slenderman and Jeff the Killer. These legends were later adapted into films, video games, and merchandise.
Parsons’ work is part of a wave of creators who began on YouTube and transitioned to feature films. Fellow YouTubers Curry Barker, Markiplier, and RackaRacka have also produced horror movies that have performed well at the box office. Barker, known for the sketch‑comedy channel “that’s a bad idea,” directed Milk & Serial (2024) and Obsession (2025). While these titles have not yet matched Backrooms’ commercial impact, they demonstrate the viability of the YouTube‑to‑theater pipeline.
A24’s partnership with Parsons reflects the studio’s strategy of backing unconventional horror projects. The company’s previous releases, such as Marty Supreme and Moonlight, have earned significant box‑office returns and critical acclaim. Backrooms’ $348 million gross makes it A24’s highest‑grossing film to date, surpassing even the studio’s most successful earlier releases.
The film’s financial performance also underscores the growing appetite for digital‑origin horror. According to box‑office reports, Backrooms earned $81 million domestically in its opening weekend and $118 million worldwide, a figure that matched the opening of Disney/Lucasfilm’s The Mandalorian and Grogu. The movie’s success has prompted industry analysts to examine how online communities can be leveraged to build anticipation and drive ticket sales.
While Backrooms has already secured its place in 2026’s box‑office rankings, its legacy may extend beyond revenue. The film’s adaptation of a creepypasta narrative demonstrates how internet folklore can be translated into high‑production‑value cinema. It also highlights the role of young creators in shaping contemporary horror, challenging traditional production pipelines and opening new avenues for talent discovery.
In the coming months, A24 will continue to promote Backrooms through festivals and marketing campaigns. The studio has not announced a sequel, but the film’s popularity suggests that further adaptations of internet‑origin stories may follow. Meanwhile, Parsons remains active on YouTube, where he continues to produce short horror content, and Barker is reportedly working on new projects that blend comedy and horror.
The Backrooms phenomenon exemplifies how digital platforms can serve as incubators for genre innovation. By converting a viral web series into a blockbuster film, Kane Parsons has set a new benchmark for young filmmakers and demonstrated the commercial potential of internet‑derived horror narratives.
Backrooms began life as a 24‑episode YouTube series that premiered on January 7, 2022. Parsons—who also goes by Kane Pixels—produced the first episode with Blender at age 15. The series follows a fictional research institute that probes an extradimensional complex of empty rooms, and it quickly amassed tens of millions of views. In February 2023, A24 announced that it would adapt the series into a feature film, with Parsons at the helm.
Filming kicked off in summer 2025 and wrapped in August of the same year. The screenplay was written by Will Soodik, who replaced original writer Roberto Patino. Backrooms premiered at the Aero Theatre in Los Angeles on May 7, 2026, before its wide theatrical release. Critics praised the movie’s blend of psychological horror and found‑footage style, and it has become the second‑highest‑grossing horror film of 2026.
The film’s success illustrates a broader trend in which internet‑based horror content is moving into mainstream cinema. The genre’s roots can be traced to the late 1990s, when The Blair Witch Project used a website to present “evidence” and create a mythic narrative that drove audiences to the box office. In the 2000s, the rise of creepypasta—user‑generated horror stories shared on forums and imageboards—produced iconic figures such as Slenderman and Jeff the Killer. These legends were later adapted into films, video games, and merchandise.
Parsons’ work is part of a wave of creators who began on YouTube and transitioned to feature films. Fellow YouTubers Curry Barker, Markiplier, and RackaRacka have also produced horror movies that have performed well at the box office. Barker, known for the sketch‑comedy channel “that’s a bad idea,” directed Milk & Serial (2024) and Obsession (2025). While these titles have not yet matched Backrooms’ commercial impact, they demonstrate the viability of the YouTube‑to‑theater pipeline.
A24’s partnership with Parsons reflects the studio’s strategy of backing unconventional horror projects. The company’s previous releases, such as Marty Supreme and Moonlight, have earned significant box‑office returns and critical acclaim. Backrooms’ $348 million gross makes it A24’s highest‑grossing film to date, surpassing even the studio’s most successful earlier releases.
The film’s financial performance also underscores the growing appetite for digital‑origin horror. According to box‑office reports, Backrooms earned $81 million domestically in its opening weekend and $118 million worldwide, a figure that matched the opening of Disney/Lucasfilm’s The Mandalorian and Grogu. The movie’s success has prompted industry analysts to examine how online communities can be leveraged to build anticipation and drive ticket sales.
While Backrooms has already secured its place in 2026’s box‑office rankings, its legacy may extend beyond revenue. The film’s adaptation of a creepypasta narrative demonstrates how internet folklore can be translated into high‑production‑value cinema. It also highlights the role of young creators in shaping contemporary horror, challenging traditional production pipelines and opening new avenues for talent discovery.
In the coming months, A24 will continue to promote Backrooms through festivals and marketing campaigns. The studio has not announced a sequel, but the film’s popularity suggests that further adaptations of internet‑origin stories may follow. Meanwhile, Parsons remains active on YouTube, where he continues to produce short horror content, and Barker is reportedly working on new projects that blend comedy and horror.
The Backrooms phenomenon exemplifies how digital platforms can serve as incubators for genre innovation. By converting a viral web series into a blockbuster film, Kane Parsons has set a new benchmark for young filmmakers and demonstrated the commercial potential of internet‑derived horror narratives.
