Digital creators Kris Collins and Celina Myers, better known to their 51 million and 29 million TikTok followers respectively as KallMeKris and Celina Spooky Boo, are stepping onto the big screen this week with their debut feature film, House on Eden. The found-footage horror project, co-created with longtime collaborator Jason-Christopher Mayer, marks a bold pivot from viral content to traditional cinema. Shot in just seven days on a shoestring budget, the film opens in over 1,500 U.S. theaters Friday, testing whether social media clout can translate to box-office success.
The trio’s shift grew organically from their digital roots. Having collaborated for years on paranormal-themed skits with cinematic flair, they began discussing a film project casually in 2022. “We announced it at VidCon 2023 to hold ourselves accountable,” Collins said, admitting they had no concrete plans at the time. Momentum accelerated when Collins conceived the film’s premise during a late-night brainstorming session, sharing voice memos detailing a narrative beginning with a Venus flytrap—a concept they expanded into a rough outline rather than a rigid script.
Their background in rapid-turnaround content proved vital. The team leaned into the found-footage genre, mirroring the format of their popular paranormal TikToks while incorporating tighter pacing, sound design, and framing. “It felt familiar,” Myers noted, emphasizing how their improvisational chemistry—honed over five years of collaboration—allowed flexibility during filming. Mayer, who edited their digital content before transitioning to film, highlighted the efficiency of their small crew: “When they ghost-hunt online, it’s like filming a mini-movie nightly.”
While their massive follower base offered an initial advantage, converting digital audiences into theatergoers required strategic marketing. The creators blended horror tropes with their signature comedy, using trending sounds and relatable humor in promotional content. “Our followers expect growth,” Collins said, referencing creators’ need to “break through the glass ceiling” of online platforms. Early reactions suggest enthusiasm, though Mayer admits curiosity about how traditional horror fans will receive the project: “That community is its own ecosystem.”
The extended production timeline—a year from announcement to release—tested the creators accustomed to immediate feedback. Collins described the wait as “sitting in boiling water,” likening the process to反复 scrutinizing one’s work. Yet the experience reinforced lessons in patience and resourcefulness. “We just did it,” Myers said, reflecting on the $10,000-budget film’s against-the-odds journey.
As House on Eden premieres, the team eyes future projects with a renewed focus on quality over quantity—a principle Collins plans to apply to digital content. “Everyone’s attention span is short, but leaning into cinematic techniques matters,” she said. Whether the film succeeds as a horror entry or a creator-industry case study, its very existence underscores a shifting landscape where social media savvy meets traditional storytelling ambition.
