Hollywood’s New Inflection Point Isn’t What It Seems

As cinema continues to evolve, a phenomenon has emerged in Hollywood: the industry’s increasing reliance on digital natives as the next big thing. Viral sensations like Kane Parsons and Curry Barker have made headlines, while YouTube personalities turned filmmakers are gaining traction. However, this trend is more complex than it initially appears.

The case of Scott Glassgold, who discovered Zeek Earl and Chris Caldwell’s short film on Vimeo over 14 years ago, illustrates the challenges faced by digital creators trying to break into Hollywood. Despite the success of their work online, studios seemed more interested in exploiting it than supporting the artists themselves. This is not an isolated incident; numerous examples throughout the decade have shown that when digital natives try to translate their web-fame into mainstream cinema, they often find themselves stuck between development hell and creative compromise.

This spring saw a surge of internet-bred filmmakers achieve box office success. Backrooms, directed by Kane Parsons, became A24’s highest-grossing movie ever, raising questions about what exactly Hollywood is getting right (and wrong) in its attempts to co-opt digital talent.

Projects currently in development offer insight into the industry’s thinking. Adaptations of viral imagery and online horror series are being greenlit alongside web-born script ideas. Aaron B. Koontz, producer on Mandela Catalogue, described his experience with internet-savvy executives: “It’s the opposite of what I’m used to in my entire career.”

However, there’s a danger lurking beneath this excitement: that Hollywood is treating digital talent as the latest trend rather than recognizing their unique contribution to storytelling. Shawn Levy cautions against reading too much into these green-lighted projects, reminding us that most long-shot bets don’t pan out.

The question remains: can Hollywood truly learn from its successes, or will it continue to reduce the web to a mere wellspring of ideas? The industry’s history suggests that “nothing teaches Hollywood a faster lesson than a hit.” To capitalize on the internet’s creative bounty, Tinseltown must do more than just recognize its value; it must learn to collaborate with digital natives as equals.

For now, the trend shows no signs of slowing down. TikTok users are embracing experimental horror flicks, and filmmakers like Jane Schoenbrun are pushing the boundaries of internet-fueled cinema. But will Hollywood be able to transcend its own biases and tap into the full potential of digital talent? Only time – and a healthy dose of humility – will tell.

The clock is ticking for Tinseltown to prove its commitment to genuine partnership with the internet’s creative class, or risk losing out on a revolution that could change the face of cinema forever.