{
  "$type": "site.standard.document",
  "bskyPostRef": {
    "cid": "bafyreifn3mdguz3uzbwfgj7qios62h55idx4yrgtp2sm2n2vlvtnj5vilq",
    "uri": "at://did:plc:32mm7ailep2hqm4fp6gjwlqp/app.bsky.feed.post/3mnzvxfpyfib2"
  },
  "coverImage": {
    "$type": "blob",
    "ref": {
      "$link": "bafkreibvx4q6iwqch4lmrphww5qvx3bfrtpwtfqlwdrklnjdpt7slkdpwe"
    },
    "mimeType": "image/jpeg",
    "size": 85827
  },
  "path": "/2026/06/film-backrooms-obsession-low-budget-horror",
  "publishedAt": "2026-06-11T16:40:38.466Z",
  "site": "https://jacobin.com",
  "tags": [
    "Film and TV"
  ],
  "textContent": "Two indie horror movies with YouTube origins, Obsession and Backrooms, crushed big-budget Star Wars and He-Man movies at the box office. But claims that these films represent a revival of cinematic creativity à la the New Hollywood era are overblown.",
  "title": "Backrooms and Obsession Are Glimpses of a Better Hollywood",
  "updatedAt": "2026-06-11T17:48:44.389Z"
}