{"id":2046,"date":"2026-08-14T07:09:06","date_gmt":"2026-08-14T07:09:06","guid":{"rendered":"https:\/\/commercialrelocationpros.com\/?p=2046"},"modified":"2026-08-14T07:09:06","modified_gmt":"2026-08-14T07:09:06","slug":"the-trouble-with-trying-to-turn-viral-videos-into-blockbusters","status":"publish","type":"post","link":"https:\/\/commercialrelocationpros.com\/?p=2046","title":{"rendered":"The Trouble With Trying to Turn Viral Videos Into Blockbusters"},"content":{"rendered":"
\n

Almost 14 years ago, the producer Scott Glassgold stumbled on a short film on Vimeo about a woman who believes she\u2019s encountered an alien. The project, by a pair of filmmakers named Zeek Earl and Chris Caldwell, was \u201ca wonderful, lo-fi science-fiction story\u201d that conveyed a distinct storytelling voice, Glassgold told me. He immediately set out to work with them, hoping to introduce the pair to Hollywood as fresh directing talent. \u201cThat was an early moment for me on the internet,\u201d he explained. \u201cI just saw it as an incredibly viable path to meeting artists, finding ideas, frankly, in a place where, at the time, really no one else was looking.\u201d<\/p>\n

Read more Tehran Has to Make a Choice<\/a><\/p>\n

He learned from that period, however, that Hollywood wasn\u2019t universally enthusiastic about turning such material into feature-length movies\u2014at least, not with unknown, internet-bred creators involved. Even though Earl and Caldwell\u2019s work attracted potential studio buyers, Glassgold sought independent financing to help the pair avoid what\u2019s known in the industry as development hell. \u201cThe first call I would get from a studio head would be like, We\u2019re so excited. When can we fire the director?<\/i>\u201d Glassgold recalled. \u201cI would just put my hands on my face, because it was entirely antithetical to what we were trying to achieve.\u201d<\/p>\n

That was, as Glassgold put it, \u201cthe 1.0\u201d of Hollywood\u2019s dalliance with the internet\u2014a far cry from the industry\u2019s upgraded view of digital-native talent these days. Works by filmmakers who first found success online consistently scored at the box office this spring: Backrooms<\/i>, directed by Kane Parsons, who went viral as a teenager with a web series set in the same world of liminal spaces, is now the studio A24\u2019s highest-grossing movie ever. Obsession<\/i>, a horror-comedy made by Curry Barker, who first built an audience on YouTube through sketch-comedy videos, became a word-of-mouth hit. And Iron Lung<\/i>, a video-game adaptation self-financed, directed, and released by the gaming YouTuber known as Markiplier, grossed at least 10 times its budget worldwide with the help of his nearly 40 million subscribers.<\/p>\n

Hollywood, inspired by these triumphs, is doing what it does best: working overtime to capture the same magic again. Several projects with online roots have recently entered into development to become feature-length films, including Siren Head<\/i> and Cartoon Cat<\/i>, each inspired by the disturbing viral imagery of the artist Trevor Henderson; Seasons<\/i>, an adaptation of a short story first published on the Subreddit r\/nosleep, a forum for grassroots horror writing, about a couple whose dream ranch turns out to be haunted; and The Mandela Catalogue<\/i>, a script based, much like Backrooms<\/i>, on a popular horror series on YouTube.<\/p>\n

Mandela<\/i>, set in a fictional county in Wisconsin that\u2019s invaded by shape-shifting creatures,led to an 11-studio bidding war, with Steven Spielberg signing on as a producer along the way. Aaron B. Koontz, an indie filmmaker and a producer for Mandela<\/i>, told me that Hollywood\u2019s new fascination with digital creators has been vindicating\u2014and overwhelming. \u201cIt\u2019s the opposite of what I\u2019m used to in my entire career,\u201d he said, adding that after Backrooms<\/i>\u2019 release, he was on the phone every day for three weeks with executives interested in picking up Mandela<\/i>. \u201cPeople in Hollywood that never took my call,\u201d he said, \u201care now calling me<\/i>.\u201d<\/p>\n

To the filmmaker Shawn Levy, whose production company 21 Laps worked on Backrooms <\/i>and Seasons<\/i>, these green-lighted projects merely underline \u201ca predictable sort of frenzy\u201d based on the latest Hollywood success story; they\u2019re not a sure sign that the industry is shifting significantly. \u201cEven though right now there\u2019s a mad gold rush of assistants being tasked with scouring the internet for the next Kane Parsons or the next Curry,\u201d he told me, \u201cmost long-shot bets don\u2019t pan out.\u201d Hollywood has clearly grasped that the next auteurs and franchises can be found on the web. \u201cNothing teaches Hollywood a faster lesson than a hit,\u201d Levy said. But whether Hollywood\u2019s intensive focus on all things internet leads to anything resembling this year\u2019s box-office successes will depend on the industry seeing the internet as more than just a place from which to mine ideas.<\/p>\n

Hollywood once seemed baffled by the internet. Throughout the 2010s, almost every time the industry attempted to translate trendy web culture into conventional entertainment, the results were largely forgettable: The Grumpy Cat meme inexplicably starred in a Lifetime holiday movie, a thread about one writer\u2019s father\u2019s curmudgeonly sayings became a quickly canceled sitcom, and a major studio\u2019s adaptation of Slender Man<\/i>, a character that originated on an internet forum, bombed with critics.<\/p>\n

Yet over the years, the language of digital natives began to influence popular culture anyway as the internet became intertwined with daily life. Consider the growing slate of satires about influencers, the numerous coming-of-age films that have tapped into teenage angst amid the rise of social media, and the fact that entire movies have been made that take place exclusively on computer screens. TikTok users embraced Skinamarink<\/i>, an experimental horror flick made for 15,000 Canadian dollars, by posting story breakdowns and their terrified live reactions.The director Jane Schoenbrun\u2019s films\u2014including their latest, Teenage Sex and Death in Camp Miasma<\/i>\u2014could be considered an offshoot of internet culture, trafficking as they do in esoteric online-fandom sensibilities. Their movies, packed with surreal imagery and dream-logic-driven plots, conjure the sensation of getting lost down an internet rabbit hole.<\/p>\n

The road to building such an oeuvre, however, required \u201clying,\u201d Schoenbrun told me with a laugh. When they were pitching their projects to traditional studio brass, many of the executives they met didn\u2019t understand the stories at first glance, even though they sought voices like Schoenbrun\u2019s. \u201cIt\u2019s like,\u201d the director explained, \u201ctrying to say something in a way that will be understood and digestible.\u201d<\/p>\n

Read more Atlantic Trivia: Our Greatest Debate<\/a><\/p>\n

That kind of code-switching can create tension, according to Lucas Ford, a producer I spoke with. He would know: As an assistant at 21 Laps in early 2022, Ford brought Parsons\u2019s YouTube channel to the attention of Levy and his fellow executive Dan Cohen. Today, Ford runs his own production company, translating ideas from all kinds of visual artists and writers into potential films. He told me that when pitching to studios, he tries to go beyond highlighting shallow metrics\u2014viewer counts, subscriber numbers\u2014and instead articulate why he\u2019s personally drawn to the material.<\/p>\n

Any internet creator who has built an online following has a relationship with their audience that Hollywood should cultivate rather than erase, Ford noted; if a movie adapting an online work has forced its digital-native storyteller\u2019s vision to fit conventional molds, viewers familiar with the original material \u201ccan sniff that out immediately.\u201d Schoenbrun told me something similar, observing that Backrooms<\/i> and Obsession <\/i>had brought young people to theaters by appealing to their concerns about, say, the flagging economy and dating habits. \u201cThis was youth culture speaking to itself,\u201d they said of those films.<\/p>\n

By offering more internet talent a chance to bring their visions to big-screen life, Hollywood seems eager to further invoke today\u2019s youth culture. But deepening that relationship, Levy said, will require precise care. He told me that he\u2019d initially had \u201chealthy skepticism\u201d about Backrooms<\/i>\u2019 ability to become a feature-length film: \u201cCertainly, question marks abounded,\u201d he explained, including \u201cthe fact that it was a teenager who was being given the keys to the car.\u201d In the end, he pushed the movie forward; he trusted his team\u2019s assessment of both the concept and, after meeting him, Parsons\u2019s capacity to turn an aesthetic into a fleshed-out story deserving of a theatrical release.<\/p>\n

Adapting this kind of material can require different approaches. Koontz, the Mandela Catalogue <\/i>producer, told me that he\u2019d advocated for its creator, Alex Kister, to direct and co-write the film adaptation because a large part of the project\u2019s appeal came from Kister\u2019s creative flourishes: He uses alternating points of view, plenty of biblical allusions, even footage from a children\u2019s cartoon. For Siren Head<\/i>, though, Glassgold explained that the material warranted bringing experienced filmmakers on board. Henderson\u2019s artwork, as striking as it is, isn\u2019t enough of a foundation for a movie, so the film is moving forward with two Hollywood-horror veterans overseeing its creation: the screenwriter Brian Duffield and the Weapons<\/i>director Zach Cregger, who are collaborating on the script.<\/p>\n

The internet has never been predictable: Backrooms<\/i>\u2019, Obsession<\/i>\u2019s, and Iron Lung<\/i>\u2019s collective overperformance at the box office argues against the kind of gold-rush thinking that is driving Hollywood to seek out digital storytellers. Even for the filmmakers who achieved liftoff from their online beginnings, the web can be an unreliable foundation on which to build. Kyle Edward Ball, the director of Skinamarink<\/i>, told me that he began uploading videos on YouTube in the 2010s in part because he believed that going viral would help launch his career. He instead found the platform more useful as a training ground, honing his voice one video at a time. (Ball noticed at the time that amassing views certainly led some creators to Hollywood success, but many of the results seemed to involve \u201cbedazzling the wheel instead of reinventing it,\u201d he said.)<\/p>\n

Schoenbrun, for their part, pointed out that the flurry of headlines about digital-native talent impressing Hollywood has tended to flatten anything that began on the internet into one genre, despite the fact that, creatively, Backrooms <\/i>isn\u2019t Obsession<\/i>, just as Siren Head <\/i>won\u2019t resemble The Mandela Catalogue<\/i>. The artists behind these works also approach the internet differently; Parsons riffed on an aesthetic born on internet forums, for instance, while Barker treated online behavior as his subject matter. (His first feature film, Milk & Serial<\/i>, is about YouTube pranksters.) Hollywood\u2019s latest fixation could be just a brief, reductive detour away from tentpole franchises or superhero films and into horror movies (one of the most reliable genres for producing mainstream hits) that take nontraditional paths to being made. \u201cI\u2019m not like, Wow, this is the French New Wave for YouTube<\/i>, you know?\u201d Schoenbrun said.<\/p>\n

Maybe not, yet the film industry does seem to have hit the jackpot\u2014these few times, at least\u2014in a realm that has long appeared to confound it. Either way, Ball told me, it\u2019s a thrilling moment for artists bred online to experiment without worrying about fitting any filmmaking molds. \u201cDon\u2019t chase Hollywood,\u201d he said. \u201cHave Hollywood chase you.\u201d<\/p>\n

Read more A Perfect Album for a Frustrating Decade<\/a><\/p>\n<\/section>\n","protected":false},"excerpt":{"rendered":"

The film industry is starting to see Reddit and YouTube as gold mines, but those platforms won\u2019t save Hollywood on their own.<\/p>\n","protected":false},"author":1,"featured_media":2045,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-2046","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"yoast_head":"\nThe Trouble With Trying to Turn Viral Videos Into Blockbusters - Commercial Relocation Pros<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/commercialrelocationpros.com\/?p=2046\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Trouble With Trying to Turn Viral Videos Into Blockbusters - Commercial Relocation Pros\" \/>\n<meta property=\"og:description\" content=\"The film industry is starting to see Reddit and YouTube as gold mines, but those platforms won\u2019t save Hollywood on their own.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/commercialrelocationpros.com\/?p=2046\" \/>\n<meta property=\"og:site_name\" content=\"Commercial Relocation Pros\" \/>\n<meta property=\"article:published_time\" content=\"2026-08-14T07:09:06+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=2046#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=2046\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/#\\\/schema\\\/person\\\/3a3374a445f1b5d4852b1d7c15b9fe3a\"},\"headline\":\"The Trouble With Trying to Turn Viral Videos Into Blockbusters\",\"datePublished\":\"2026-08-14T07:09:06+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=2046\"},\"wordCount\":1778,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=2046#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/commercialrelocationpros.com\\\/wp-content\\\/uploads\\\/2026\\\/08\\\/d9b1b121b58c516c5cf47855c438443c.avif\",\"articleSection\":[\"Culture\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=2046#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=2046\",\"url\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=2046\",\"name\":\"The Trouble With Trying to Turn Viral Videos Into Blockbusters - 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