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The horror genre occupies the current Hollywood spotlight, and we have YouTube to thank for a bevy of high-grossing indie films directed by popular YouTubers. The runaway success of these box office darlings has industry insiders questioning if this crew represents a new filmmaking era or if it’s a passing phase.

Pipeline from YouTube-to-horror filmmaker

The recently released “Backrooms” is “part of a growing wave of breakout films from fledgling directors” who “honed their instincts on YouTube” rather than “inside the Hollywood ecosystem,” said The New York Times. Kane Parsons, the 20-year-old first-time director, signed a deal with distributor A24 to make the film when he was 17. He joined the ranks of two other creators who have “already turned online followings into surprise box-office hits this year.”

The “YouTuber-to-filmmaker boomlet,” said the Times, began in January when YouTube creator Mark Fischbach, known as Markiplier by his fans, self-distributed his horror movie, “Iron Lung.” Though it only cost $3 million to make, it “took in $50 million” in the end. The run of successful YouTube horror directors continued with “Obsession,” a $750,000-budget horror movie directed by Curry Barker. Both Barker’s film and “Backrooms” have surpassed $200 million in earnings each. “It’s not an anomaly,” Stephen Galloway, the dean of Chapman University’s film school, said to the Times. It is the start of a “gigantic shift.” These are the “cinematic insurgents of our era.”

The YouTube generation has “finally come of age,” horror filmmaker James Wan, who coproduced “Backrooms,” said to Variety. They grew up creating content without money. That spirit has fostered a “new wave of filmmakers and storytellers.” YouTube is the “perfect incubator for emerging voices.”

There is a “whole generation of moviegoers who grew up” with a “very specific taste in horror, the stuff that sits a little outside the mainstream,” Jason Blum, producer of the “Paranormal Activity” franchise, said to Variety. When one of these filmmakers “makes the jump to a theater, the audience that found them online comes with them.”

Wins with a grain of salt

While they are currently making a splash, these “box office victories come with caveats,” said the Times. All three movies are horror films, the genre that has “long been the most forgiving for first-time filmmakers, in part because horror is relatively cheap to produce.” For some studio executives, “that context is a reason for caution.” The real shift will come when “horror isn’t the only proof of concept.”

With so much emphasis being put on the “YouTube-to-horror movie trend” as the “next frontier of finding talented new voices,” a “difficult, uncomfortable conversation is more necessary than ever,” Slash Film said. Unless you exist as a “cisgender, heterosexual, white man,” the pipeline “doesn’t actually exist.” YouTube is not and has “never been a truly democratized platform,” and we are doing the “next generation of creatives a disservice by pretending it is.”

There are “random people from Discord who are, like, 14-year-olds” who are “not working in the industry at all, but they’re fucking wizards,” Parsons said to The Verge. Still, he refuses to “preach the blind optimism that I hear from a lot of other filmmakers who say, ‘You got a phone; everyone can be a filmmaker now.’”

The best lesson executives could take from the success of Parsons and Barker is “not to throw a zillion dollars at more movies that look just like these two,” movie critic Alissa Wilkinson said at The New York Times. It would be to “find more creators like these two” because they’ve “built audiences in an organic way in the places that younger audiences congregate” and to give them “creative freedom to explore what feels right to them.” Remember, too, that “not everything will hit like these two movies.”