Cult classics are films, television shows, albums, and other works of art that are initially unsuccessful or underappreciated upon release, but later reevaluated and appreciated. They often develop a dedicated fan base that outsiders believe takes on a "cult-like" devotion.
Scholars suggest that many cult classics—like "The Rocky Horror Picture Show" or "The Big Lebowski"—are initially unpopular because they're too idiosyncratic or transgressive for broad, mainstream audiences, though they find appreciative, niche audiences through independent or underground outlets. Other cult classics—like "The Room"—develop passionate followings because of their shortcomings, with audiences (ironically or earnestly) admiring the shoddy production values, sometimes believing them to be more endearing and authentic than traditional art.
While the internet has eliminated the middlemen that previously relegated cult classics to the margins, some media scholars argue that it has only consolidated mainstream tastemakers and crippled the independent outlets that introduced audiences to more obscure works.
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Whether they're films, albums, television shows, or some other work of art, cult classics usually develop ardent followings because of their early struggles, either as box office flops or modest, self-released affairs. Richard Kelly, director of cult film "Donnie Darko," explains why he believes that endears audiences.
Cult film followings develop for a number of reasons. Some admire a movie's unappreciated genius. Others believe the work was simply ahead of its time. And, yes, some cult classics gain their cult status because they're unbelievably, laughably bad. This list includes all of the above, ranking the films that have developed passionate, even obsessive, followings—for whatever reason.
Before the streaming era, television shows lived and died by their weekly ratings. That led to early cancellations for several well-regarded shows, like "Freaks and Geeks," "Party Down," and "Veronica Mars." Thanks to DVD boxsets and streaming, the shows often became cult classics long after they were taken off the air.
Before its national release in 1975, the studio behind "The Rocky Horror Picture Show" decided the musical movie was too strange, campy, and unwieldy for most audiences and cut its promotional efforts, hoping to minimize its losses. That decision led to the film's commercial failure.
The movie was initially a commercial failure, but it began amassing a loyal following through midnight showings, where audience members dressed as their favorite characters and acted out scenes from the movie in the aisles—a tradition that continues to this day.
Dr. John Dyck, an assistant professor of philosophy at Mississippi State, says admirers of "so good they're bad" works like "The Room" do not do so ironically. "They love it as a gorgeous freak accident of nature, something that turned out beautifully—not despite, but because of the failure of its creators."
When it was released in 1998, the Coen brothers' film didn't garner overwhelming critical praise or generate impressive ticket sales. Over time, though, it's become one of the defining cult movies, with midnight showings where audience members dress as Jeff Bridges' "Dude" and drink White Russians. It's even spawned its own religion: dudeism.
The movie has bad acting, nonsensical dialogue, and a plot that doesn't add up. Still, its fans attend midnight screenings, recite its most famous lines, and even act out scenes in the aisles. Studies have found that fans are drawn to "trash cinema" like "The Room" for the same reason they're drawn to avant-garde works: because they flout mainstream standards.
In 1969, the three sisters recorded "Philosophy of the World"; only 100 copies were publicly distributed. The record became a cult classic thanks to its strange backstory (their father forced them into playing music) and the band's amateurism. Critic Lester Bangs wrote, "They can't play a lick! But mainly they got the right attitude, which is all rock'n'roll's ever been about from day one."
The classically trained cellist moved to San Francisco in the early 1970s, mingling with the hippie movement and the Beat Generation. After arriving in New York in 1973, he began exploring the nascent punk and disco scenes, infusing them with his classical training; however, his eclectic style might've been part of the reason he never broke through during his lifetime. That variety, though, is what draws so many devoted listeners to his work today.
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