Kane Parsons Puts Backrooms Everything Must Go on YouTube, Offers Sixteen Minutes of Clipping Signs and Shadows

Kane Parsons just made it free for anyone with an internet connection. The 16-minute piece of footage that played after the credits in the limited theatrical Everything Must Go Edition of his A24 film is now sitting on his Kane Pixels YouTube channel as a proper new episode in the long-running series.

Its release is a little later than expected. The extended theatrical edit hit theaters in early July, and the extra material was limited to those exclusive screenings until August 18, when it was ultimately released to the general public, adding 16 minutes and four seconds to the low-res square frame that defined the original found-footage shorts. For those who were unable to return to the cinema or simply wanted to take a closer look at the sequence without the pressure of a ticking clock, the wait is now over.

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The short begins on a hot June 18, 1990. A small team from Async, all dressed in hazmat suits, goes through a sector of the Complex known as the Kelowna Branch. One of them has a camera slung over their shoulder. At first glance, the early corridors appear to be familiar, but soon the gang enters a room covered in sale placards. The same two lines of text appear repeatedly: “EVERYTHING MUST GO! ENTIRE STORE ON SALE.” Several of these signs hang so low that they sink straight through the floor, with the bottom edges disappearing into the carpet and concrete as if the sign had run out of steam.

The researchers treat the entire survey as if it were routine. They return the next day, armed with measuring instruments and thorough notes. Ronald McCarthy, one of the team members, observes that the three visible signs make a distinct pattern, and that a fourth sign should be hidden right behind the nearest wall. They cut into the drywall and, as expected, find the fourth sign, as well as a mannequin hand protruding out of a beam. Another cut reveals more of the figure, including a ship’s steering wheel, coat hooks, and various pieces of dispersed lawn furniture. The space on the other side of the wall is dark and empty, and it was clearly designed using the same visual language as Cap’n Clark’s Ottoman Empire, the zany furniture store at the center of the feature film.

The entire thing plays like a dry-as-dust research report, not a gruesome horror short. We occasionally see photographic stills interrupting the video. The radio noise is muffled under those hazmat hoods, and you know what takes up an unexpected amount of screen time? Sign measurements. The anxiety gradually increases during the scene, aided by repetition and the growing realization that the Backrooms is now duplicating portions of the outside world, albeit in an extremely flawed fashion.

Parsons completed the entire project in what must have been less than two weeks, employing the same creative approach that proved successful with the web series. It fits beautifully as the 25th entry in the series while also acting as a direct bridge to the feature film. Anyone who has watched the feature will recognize the business, signs, and final shape from a mile away. Anyone who is just familiar with the YouTube work will recognize the Async team, the clipped things, and the way the researchers describe this strange material in such a meticulous, almost bureaucratic manner, as if they knew they shouldn’t be there.