Why the ‘Anomaly’ and ‘Surprise’ of ‘Obsession’ and ‘Backrooms’ Shouldn’t Guide Where the Industry Looks Next
This year’s back-to-back phenomenon of “Obsession” and “Backrooms,” two low-budget horrors that have now earned in excess of $900 million globally, sparked a predictable frenzy in the industry as producers and studios began looking for the next YouTube genre stars ready to make t
The surprise success of low-budget horrors "Obsession" and "Backrooms" has sent shockwaves through the industry, with many scrambling to replicate their success. However, it's essential to note that these films' popularity stems from their unique blend of relatability, clever marketing, and a dash of luck. The music industry, in particular, can learn from this phenomenon, as it highlights the power of grassroots, organic growth.
The "Obsession" and "Backrooms" effect can be seen as a manifestation of the changing entertainment landscape, where traditional marketing strategies are no longer as effective. The music industry has witnessed a similar shift, with artists now relying on social media and streaming platforms to build a loyal fanbase. The likes of Billie Eilish, Lil Nas X, and Olivia Rodrigo have all leveraged online platforms to achieve mainstream success. As the industry continues to evolve, it's crucial to recognize that the next big thing may not come from traditional channels.
As producers and studios look to capitalize on the success of "Obsession" and "Backrooms," they should take a closer look at the music industry's approach to discovering and nurturing new talent. The emphasis on artist development, creative freedom, and authentic storytelling can serve as a guiding light for the film industry's search for the next big hit. Keep an eye on emerging artists and filmmakers who are pushing the boundaries of their respective genres, and watch how the industry responds to the growing demand for fresh, innovative content.
Originally reported by variety.com. MusicNewsletter adds analysis for culture, style & media readers.