ScreamWire Daily

Backrooms has cleared $200 million worldwide after a $25.9 million second frame; the A24 horror breakout opened to $81 million domestic and $118 million global, now the studio’s biggest title ever.

Netflix locks the Holly Jackson adaptation for a third and final four-episode season; Season 3 has wrapped and is set for 2027, with Moonage Pictures co-producing and BBC/ZDFneo handling key territory splits.

Obsession has crossed $224M worldwide and $150M domestic, overtaking Fahrenheit 9/11 as the highest-grossing film ever acquired at a festival. The $1M horror breakout is now one of only a handful of genre titles to clear $200M domestic and still has several overseas markets left to open.

A24’s Backrooms is now the company’s highest-grossing title at $212M worldwide, while Focus’s Obsession crossed $200M on a sub-$1M acquisition; Paramount/Miramax’s Scary Movie reboot opened to $55M domestic and $105M global, reinforcing that late-’90s and early-2000s IP is the current theatrical sweet spot.

Paramount’s ‘Scary Movie’ reboot opens to £4.1 million in the U.K. and Ireland; A24’s ‘Backrooms’ climbs to £11.6 million, Universal’s ‘Obsession’ to £13.8 million, and Spielberg’s ‘Disclosure Day’ is set for a 300-plus-location launch.

20th Century Studios’ The Dog Stars carries a reported $110M budget and a late-August theatrical slot; the post-pandemic adaptation stars Jacob Elordi, Margaret Qualley, Josh Brolin, Guy Pearce and Benedict Wong, with the trailer and weak test chatter raising dump-date alarms.

A Terrifier breakout boards the lead in Red Wedding, putting a horror-franchise face atop a new genre feature as casting locks in. No further production or financing details are attached yet.

Kino Lorber has acquired U.S. rights to Black Zombie, an SXSW selection.

WME signs French horror filmmaker Sébastien Vaniček off Infested and Evil Dead Burn; the agency will rep him in all areas as he rides a festival breakout and a July 10 Warner Bros. franchise launch.

Brillstein signs Natalie Palamides for management as she tours Weer, follows a Drama Desk nomination, and keeps TV and animation lanes open with A24, Netflix and Fox credits.

Masters of the Universe’s $54M global bow against a reported $170M budget is the latest Gen X IP miss; Scary Movie’s $55M domestic launch shows millennial nostalgia still has sharper theatrical pull. The analysis frames legacy IP as increasingly dependent on younger demos, with The Devil Wears Prada 2 cited as another millennial win.

Indonesian remake of Gonjiam: Haunted Asylum lands a world premiere next month before rolling into local theaters; Anggy Umbara directs from Lele Laila’s script.

Park Hae-soo, Claudia Kim and Cho Jung-seok board Netflix Korean crime thriller Paper Man; Lee Il Hyung directs, with the series already in production. Netflix is leaning deeper into Korean-language originals after clearing 4.5 billion streams across Korean film and TV.

BIFAN marks its 30th edition with 321 films, 38 AI-generated titles, and 28 XR projects, pushing the fest deeper into tech-forward genre curation. Organizers are framing the event as a bridge between streaming, theaters, and emerging AI workflows, with a French sci-fi retrospective and spotlight programs on East Asian markets.

Momoa is out of Helldivers as Sony searches for a new star; the sci-fi action adaptation stays dated for Nov. 10, 2027, with Hutch Parker, Asad Qizilbash and Justin Lin producing.

Aster says a Hereditary prequel script exists but remains shelved; the same sit-down points to Scapegoat, with Scarlett Johansson attached and A24 lined up to distribute.

Kane Parsons says Backrooms was reverse-engineered from its ending and mapped as a serialized mythology years ago; he also ties the comments to the film’s $200 million-plus global run for A24.

Warner Bros. rolls Evil Dead Burn into U.S. theaters on July 10; Ghost House, New Line, Screen Gems and Sony co-finance, with Sony handling most international territory and Sébastien Vaniček steering the rebooted standalone sequel.