The Mandalorian and Grogu, the latest Star Wars film, saw a significant drop in box office earnings in its second weekend, raising questions about the franchise's future. The film, based on the Disney+ series, earned $25 million domestically, placing it behind two low-budget horror films, Backrooms and Obsession, which were directed by YouTube creators. Backrooms, directed by 20-year-old Kane Parsons, grossed $81.5 million in its opening weekend, nearly matching The Mandalorian and Grogu's debut. Meanwhile, Obsession, directed by 26-year-old Curry Barker, maintained strong earnings in its third weekend.
The Mandalorian and Grogu, which opened with $81 million, failed to sustain momentum, falling short of expectations. Industry analysts attribute the decline to a lack of cohesive storytelling in recent Star Wars films, dating back to The Last Jedi and The Rise of Skywalker. The film's origins as a TV series may have also contributed to its lower theatrical appeal.
In contrast, Backrooms and Obsession, produced by Blumhouse-Atomic Monster, have demonstrated the growing influence of YouTube creators in mainstream cinema. Both films were made on modest budgets—Backrooms cost $10 million, while Obsession cost less than $1 million—and have outperformed major studio releases. The success of these indie horror films suggests a shift in audience preferences toward fresh, creator-driven content.
The Mandalorian and Grogu follows Din Djarin (Pedro Pascal) and Grogu (Baby Yoda) as they work for the New Republic to capture an Imperial fugitive. The film's plot, adapted from the TV series, includes interactions with characters like Sigourney Weaver's Colonel Ward and the Hutt siblings. Despite its ties to the Star Wars universe, the film has struggled to attract audiences compared to past installments.
The box office performance of The Mandalorian and Grogu has led to discussions about the future of the Star Wars franchise. Some analysts argue that Disney and Lucasfilm need a clearer vision for the series, while others suggest that the franchise may be better suited for streaming rather than theatrical releases. Meanwhile, the success of Backrooms and Obsession highlights the potential of indie filmmakers to compete with major studios.