Backrooms made A24 the fourth-biggest studio of the summer. Now it wants to be paid like one.

For most of its history, A24 operated as a boutique distributor content with 40 to 45 percent of ticket sales. That changed this summer.

Backrooms, A24's low-budget horror breakout, crossed $400 million globally and pushed the studio to fourth place at the domestic summer box office, behind Universal, Sony, and Disney. Armed with that leverage, A24 has begun seeking splits in the low-to-mid-50s, a range historically reserved for studios with proven franchise IP.

Two circuits refused. Marcus Theatres, the fourth-largest chain in America with 77 locations, stopped booking A24 films after June. The Invite, Tony, and Onslaught were all held off screens. The dispute ended last week: a Marcus spokesperson confirmed the two sides "have come to terms that are mutually agreeable," and Primetime is set to return to Marcus locations.

Harkins Theatres, a 33-location Southwestern chain, remains unresolved. The chain pulled Tony and Primetime rather than agree to A24's terms. Harkins told Arizona Family: "we were not able to secure mutually agreeable terms with A24 to present their films at this time. We are disappointed that this is the outcome."

An unnamed regional programmer framed the argument plainly, according to The Ankler: "45 versus 53 does mean a lot to us... Disney can demand higher prices because they make us money all the time. A24 can't do that."

Whether one franchise-sized hit is enough to sustain major-studio pricing long-term is exactly what the Harkins standoff will answer.