Pandemonium erupted at the box office this weekend, with the holdover hit Curry Barker‘s Obsession delivering yet another weekend-on-weekend increase in revenue, and still finishing second on the charts. The number one movie globally this weekend was fellow horror title Backrooms, which summarily destroyed pre-release projections and set records that will be difficult to beat. It delivered the biggest opening-weekend haul in the 14-year history of indie outfit A24, grossing nearly thrice as much as the previous record-holder Marty Supreme‘s opening weekend haul from 2025. Additionally, Backrooms director Kane Parsons is now the youngest filmmaker ever to deliver a number one opening at the global box office. At 20, Parsons is much younger than the previous record-holder, Josh Trank, who was 27 when Chronicle debuted at the top spot.

Parsons still isn’t old enough to drink, but has made history with Backrooms — a $10 million horror that has delivered a domestic debut in the range of Christopher Nolan‘s Oppenheimer, Denis Villeneuve‘s Dune: Part Two, and James Cameron‘s Avatar: Fire and Ash. Backrooms is based on Parsons’ web-series of the same name, and stars Oscar nominees Renate Reinsve and Chiwetel Ejiofor in the lead roles. Like Obsession, which was also directed by a young man who honed his talents on YouTube, Backrooms opened to excellent reviews.

Here’s How Much ‘Backrooms’ Grossed in Its Global Box Office Debut

It now holds a “Certified Fresh” 89% score on the aggregator website Rotten Tomatoes, where the critics’ consensus reads, “A startlingly assured feature debut from director Kane Parsons, Backrooms bends the liminal spaces that have haunted the internet for years into a horror film that’s as mesmerizing as it is terrifying.” Collider’s Aidan Kelley was just as enthusiastic, evoking masterpieces in his review. He wrote, “The slow burn of Alfred Hitchcock, the surreal visuals of David Lynch, and the human stakes of Stanley Kubrick are all on full display here, making for one of the unique and intriguing horror properties of the decade, let alone of the year.” Backrooms was initially projected to make around $25 million in its opening weekend, a number that was later increased to $45 million, and then $75 million. In actuality, the movie grossed a humongous $81 million in its domestic debut, and just under $120 million worldwide. Stay tuned to Collider for more updates.

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Release Date

May 27, 2026

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Runtime

110 minutes

Director

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Kane Parsons

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Jason Biggs recently called it quits on his nearly two-decade marriage to Jenny Mollen, and now, sources claim that the actor felt their marriage “had lost its spark.”

While the comedian has focused on sobriety and personal growth, Mollen has been candid about feeling overshadowed by her husband’s fame and struggling with self-worth.

Despite the split, Jason Biggs and Jenny Mollen remain committed to co-parenting their two sons and preserving their friendship, with insiders describing the separation as amicable.

News of Biggs and Mollen’s split after 18 years of marriage came as a surprise to many fans, but sources close to the former couple say the decision was made after they gradually grew in different directions.

According to an insider, Biggs has experienced significant personal growth in recent years, embracing sobriety and focusing on a healthier, more balanced lifestyle.

“And Jason’s the first to admit he’s a changed person these days, having shed a lot of weight and being proudly sober,” a source told Star Magazine. “He wants to eliminate any source of stress from his life, and it just wasn’t going to work for him, sticking in a marriage that had lost its spark.”

Despite ending their relationship, there is reportedly no bitterness between the two. Mollen is said to understand the decision and believes the separation is ultimately the right choice for both of them.

Jason Biggs And Jenny Mollen Are Working On Co-Parenting And Friendship Following Separation

Biggs and Mollen first met while filming the 2008 romantic comedy “My Best Friend’s Girl” and went on to build a life together, welcoming sons Sid, 12, and Lazlo, 8.

While their marriage has ended, both remain dedicated to co-parenting and maintaining a strong friendship.

Their commitment to staying on good terms has been evident in recent weeks. Even after announcing their separation, the former couple reportedly spent Biggs’ 48th birthday together, with sources describing them as deeply connected despite no longer being romantically involved.

According to the source, both are determined to maintain a respectful and supportive relationship moving forward, adding that the “last thing either of them wants is to wind up bickering over money or not remain friends. There’s too much mutual respect for that to happen.”

Jenny Mollen Reflects On Feeling ‘Totally Eclipsed’ By Jason Biggs During Their Marriage

Mollen has also been candid about some of the personal challenges she faced throughout the marriage.

During a recent appearance on the “What Matters With Liz” podcast, recorded before the split became public, she reflected on feeling overshadowed by her husband’s fame.

“When I got together with Jason, I always had a chip on my shoulder in the beginning because I felt like suddenly I went from being the oldest daughter, and I felt like I had my sh-t together, and then suddenly, I married this guy who, in a lot of ways — career-wise — totally eclipsed me,” the “Cattle Call” actress shared, per Page Six.

Comparing herself to Prince Harry’s description of being the “spare” rather than the heir, Mollen said it drove her “crazy” to “always just be, like, brushed to the side.”

She admitted that the dynamic sometimes left her frustrated and questioning her own identity. “I was the spare. I was the ‘American Pie’ spare. I relate to Harry. That drove me mad, and I always had this feeling,” she explained.

Jenny Mollen Opens Up About Feeling Invisible Before Her Split From The Actor

Mollen also suggested that growing up with “what she described as two narcissist parents” and later marrying someone significantly more famous contributed to feelings of invisibility.

At times, the actress felt that few people were paying attention to her own achievements or perspective, unlike her husband.

Those feelings of self-worth were echoed in a recent Substack essay, where the “Amateur Night” star wrote candidly about her search for validation and fulfillment.

Reflecting on her achievements, she wrote that even life’s biggest milestones often felt fleeting, comparing them to “pennies disappearing into a bottomless well” before she found herself chasing the next accomplishment.

Jason Biggs And Jenny Mollen Are Still Very ‘Connected’

Earlier this month, representatives for both Mollen and Biggs confirmed the couple’s separation.

A source, at the time told People Magazine that the pair remains focused on raising their children together and preserving the close relationship they’ve built over nearly two decades.

“They are very much connected,” one insider shared, adding, “I have no doubt that they will remain on excellent terms.”

Drama has already hit the “Love Island” villa—and the first episode hasn’t even aired yet! According to multiple outlets, Vasana Montgomery, a planned OG, has been booted from the series before the premiere. Montgomery’s removal from the program comes after two videos of her appearing to say the N-word in them resurfaced. It’s not the first time “Love Island” has punished a cast member over something like this. Last year, two cast members were removed from the show for similar reasons.

Montgomery, 25, was announced as one of the main women to enter the “Love Island” villa for season 8. However, her dream of finding love on national TV has already come to an end.

Us Weekly confirmed that the hopeful reality TV star has been booted from the show over her past use of the N-word.

Videos of the woman appeared online, one of which shows her reportedly rapping along to a song and using the slur. In the other video, Montgomery appears to say, “Knock knock n—a,” while playing an arcade game.

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‘Love Island’ Producers Learned Of The Videos After Montgomery Was Revealed As Part Of The Cast

Social media users questioned why “Love Island” producers hadn’t caught Montgomery’s past videos before. However, a source confirmed to Us Weekly that the clips were privately owned, meaning someone leaked the videos after Montgomery was revealed as part of the cast.

Before her removal, Montgomery was featured in the “Love Island” promotional materials. In the trailer, the Oregon native shared what she’d bring to the series.

“I think I am the full package,” she said. “I own a business; I live alone; I have a dog. If you were to ask my friends what my type is, they’d show you the world map.”

‘Love Island’ Has Had To Deal With This Before

This isn’t the first time something like this has happened on “Love Island.” Just last year, one of the show’s fan favorites, Cierra Ortega, was removed from the show after a video of her using a racial slur was shared online.

While Peacock and the “Love Island” production team chose not to comment on Ortega’s removal from the show, her parents released a statement on their daughter’s behalf, saying she wasn’t the type of person the public had painted her to be.

“We’re not here to justify or ignore what’s surfaced. We understand why people are upset, and we know accountability matters. But what’s happening online right now has gone far beyond that,” they wrote, adding that the “threats” had taken things to a new level.

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“… we know our daughter. We know her heart. And when she returns, we believe she’ll face this with honesty, growth, and grace,” they added. “Until then, we’re simply asking for compassion. For patience. For basic human decency.”

Another Islander Was Removed For Using Racial Slurs In The Past

Before that, Yulissa Escobar, another “Love Island” season 7 contestant, was also axed from the series after videos of her saying the N-word went viral.

“First, I want to apologize for using a word I had no right in using,” she said about the videos, according to PEOPLE. “Podcast clips from years ago have recently resurfaced, and I want to address it directly.”

Escobar went on to say that she had no right to use the word she did, calling her actions “ignorant.”

“I wasn’t trying to be offensive or harmful, but I recognize now that intention doesn’t excuse impact. And the impact of that word is real. It’s tied to generations of trauma, and it is not mine to use,” she added.

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A Pennsylvania Mayor Makes Headlines After Slamming Ex-Cop

The drama doesn’t stop there. According to a previous report from The Blast, a Pennsylvania mayor, J. William Reynolds, made headlines after slamming an ex-cop who left his post to film the show’s newest season.

“Our police department spent a lot of time training and we paid thousands of taxpayer dollars to send him to the police academy. We are disappointed he left as we now have another vacancy in our department that is impossible to fill until next year,” Williams said. “I never thought I’d see the day in America where reality show participation wins out over being a police officer.”

Williams was referring to Sean Reifel, a 29-year-old from Easton, Pennsylvania, who is looking for love on season 8.

“I’m not a model, not an actor, I’m a police officer actually,” Reifel said in the show’s promotional clips. “You could be having the worst day of your life, and I’ll just help you sift through that.”

“Love Island” premieres on Tuesday, June 2, at 9 PM EST on Peacock.

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Amazon and MGM+ may have just delivered one of the most unique superhero shows in years with Spider-Noir. Early reactions across the internet have been overwhelmingly positive, with critics praising the series’ striking noir aesthetic, Nicolas Cage’s magnetic performance, and its refreshing departure from the traditional Marvel formula.

Set in a gritty 1930s New York, the series follows Ben Reilly, an aging private investigator haunted by his past life as the city’s masked vigilante. Rather than leaning into modern superhero spectacle, Spider-Noir embraces detective noir, gangster drama, smoky jazz lounges, femme fatales, and brutal street-level crime. The result feels less like a standard comic book adaptation and more like a lost Humphrey Bogart thriller that just happens to feature Spider-Man.

And at the center of it all is Nicolas Cage, who appears completely locked into the role. Multiple critics have singled him out as the show’s greatest strength, with some describing the performance as “peak Nicolas Cage” in the best possible way. Cage reportedly approached the character as “70% Bogart and 30% Bugs Bunny,” and somehow that bizarre combination works perfectly for the tone this series is chasing.

One of the biggest talking points online has been the show’s presentation. Spider-Noir will be available in both full color and authentic black-and-white versions, though nearly every early reaction suggests the monochrome format is the definitive way to watch it. Critics say the black-and-white cinematography gives the series a timeless quality that separates it from nearly every superhero project currently streaming.

Spider-man: Noir [credit: MGM studios]

The internet reaction has also compared the atmosphere and style to Batman: The Animated Series, with viewers praising its moody visuals, mature storytelling, and commitment to noir worldbuilding.

That said, some reviews note the supporting cast occasionally gets overshadowed by Cage’s larger-than-life performance. Still, most critics agree the series succeeds because it fully commits to its identity instead of trying to imitate the MCU formula.

Currently sitting at 82% on Rotten Tomatoes, Spider-Noir already looks poised to become a breakout hit among comic book fans looking for something darker, stranger, and far more cinematic than the average superhero series.

Marvel has spent years experimenting with multiverse storytelling, but Spider-Noir may finally be the project that proves these alternate Spider-Man worlds can truly stand on their own.

Miles Teller recently found himself making headlines for selling his stake in a liquor company, but more pertinently, for an infamous profile that soured him on film promotions. Teller had just broken out as the star of Damien Chazelle‘s Whiplash back when the profile was published, and was looking to take his career to the next level by doing what every young actor in Hollywood was advised by their teams to do at the time: star in a superhero movie. But Teller’s sole experience in the genre was the 2015 Fantastic Four reboot, inarguably the biggest superhero fiasco in decades. He’s done well for himself since then, despite Fantastic Four tanking and his relationship with Chazelle going south. He was the second lead in one of the decade’s most memorable blockbusters, Top Gun: Maverick, and has proven time and again that he can be a crowd-puller.

Just last year, he appeared alongside Elizabeth Olsen and Callum Turner in the fantasy dramedy Eternity, which quietly grossed more than $30 million at the box office, earned excellent reviews, and has become a fixture on the Apple TV viewership charts in recent months. Teller is no stranger to success on Apple, having headlined one of the streamer’s most successful original movies with Anya Taylor-Joy. The genre-bending hit, which combined elements of sci-fi, conspiracy thriller, romance, and horror, recently hit a massive milestone on the Apple TV charts.

Miles Teller and Anya Taylor-Joy’s Streaming Hit Just Passed a Major Milestone

We’re talking, of course, about The Gorge. Directed by Scott Derrickson, the movie appeared, on the surface, to be one of those pandemic-era productions shot entirely on soundstages with a small crew, but it has been performing like a full-blown tent pole on streaming. According to FlixPatrol, The Gorge has spent 450 days on the domestic Apple TV chart, trailing only hits such as Greyhound and The Family Plan, which were released years earlier. The Gorge now holds a 62% score on the aggregator website Rotten Tomatoes, where the consensus reads, “Mixing multiple genres, The Gorge makes for a surprisingly endearing romance until its action-thriller obligations steer proceedings back onto a more predictable path.” Taylor-Joy will hope to continue this momentum with her upcoming Apple TV series Lucky, due out on July 15. Teller, on the other hand, recently starred in the blockbuster biopic Michael, and will next be seen in the awards season favorite Paper Tiger. Stay tuned to Collider for more updates.

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Release Date

February 28, 2025

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Runtime

127 Minutes

Director

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Scott Derrickson

Writers

Zach Dean

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Producers

Gregory Goodman, C. Robert Cargill, Dana Goldberg, David Ellison, Don Granger, Miles Teller, Sherryl Clark, Adam Kolbrenner

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Gypsy Rose Blanchard got ready for the summer with a new bikini photo shoot.

The Gypsy Rose: Life After Lock Up star, 34, shared a photo of herself wearing a pink bikini top and jean shorts during a beach outing in Santa Monica, California, on Saturday, May 30. In another slide from her Instagram carousel, Blanchard watched as waves serenely crashed along the California shoreline.

Blanchard has been open about losing weight since her release from prison in December 2023. (Gypsy served just over eight years of a 10-year sentence in prison for her involvement in the 2015 murder of her mother, Dee Dee Blanchard. She completed parole in June 2025.)

After welcoming her daughter Aurora with boyfriend Ken Urker in December 2024, she revealed on her reality series, Gypsy Rose: Life After Lockup, that she’d lost around 25lbs.

Related: Gypsy Rose Blanchard Returns to Brunette 1 Month After Going Blonde

Gypsy Rose Blanchard returned to her roots. Blanchard, 32, took to TikTok on Monday, June 3, to show off her brunette hair transformation. In the clip, she shook her hair around while showing off the makeover. Blanchard paired her shoulder-length cut with a strapless blue top and a gold necklace featuring the letter “K,” a […]

“I’ve seen a lot of comments of people asking how I lost the weight so my weight loss journey started once getting out of prison … when I started eating healthier instead of prison food, the weight begin to fall off,” Gypsy explained on the Lifetime show. “I started eating twice a day and smaller portions.”

More recently, Gypsy confirmed that she never actually planned to lose weight and had not used GLP-1 medications to slim down.

“OK, y’all, I’m not gatekeeping. My weight loss came from life circumstances,” Blanchard wrote via Instagram on March 4. “After being released two years ago, my lifestyle changed a lot — from commissary junk food to home-cooked meals and trying new foods.”

The now-deleted post showed her stepping onto a scale that read 108.2lbs and later showcased her flat stomach in a blue crop top.

“I don’t follow a workout routine (though I’d love one), I don’t limit my diet and I don’t use GLP-1,” she mentioned. “I wasn’t actively trying to lose weight … my whole life just changed and adjusted to freedom.”

Earlier this week, Gypsy weighed in on the social media debate over Netflix’s true crime documentary The Crash, which explores whether Ohio teen Mackenzie Shirilla deliberately killed her boyfriend, Dominic Russo, and their friend Davion Flanagan by crashing her car into a brick wall in 2022.

Shirilla, now 21, has always denied that she intentionally crashed the car, with her lawyers blaming the incident on a blackout caused by postural orthostatic tachycardia syndrome (POTS). (Per Mayo Clinic, POTS is a nervous system disorder that can cause dizziness, fainting and extensive fatigue.)

Shirilla was convicted during a 2023 bench trial of 12 felony charges, including murder, and ordered to serve two concurrent sentences of 15 years to life imprisonment. She is serving her sentence at the Ohio Reformatory for Women prison in Marysville, Ohio.

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Related: Gypsy Rose Blanchard Used Toothpaste and Pen Ink to Make Mascara in Jail

JC Olivera/WireImage Gypsy Rose Blanchard had to get creative when it came to makeup while in jail. Gypsy, 32, who served seven years at the Chillico Correctional Center in Missouri after being convicted of second-degree murder for the death of her mother, Claudine “Dee Dee” Blanchard, explained via TikTok in a Wednesday, May 15, video […]

On the Thursday, May 28, “TMZ Podcast” episode, Gypsy predicted that Shirilla will not get “early parole” because she has not shown sufficient remorse.

“Most importantly, [you have to show] remorse,” Gypsy argued. “And family. So, if the victim’s family writes against her parole, she will automatically be denied. I’ve seen it happen time and time again with different women [who were] in my prison. They prioritize the victim’s family above everything.”

Shirilla will be eligible for parole in October 2037.

Jim Rash is the very definition of the word multihyphenate. He’s an actor, Academy Award-winning writer, producer, and director, and he’s left his fingerprints on just about every television series you can imagine. Most recently, he’s at the helm of HBO Max’s new movie Miss You, Love You, an original drama both written and directed by Rash, starring Academy Award winner Allison Janney and Tony Award nominee Andrew Rannells. But before he tried his hand behind the camera, Rash had a pretty incredible stint with small roles and as extras, working with Steven Spielberg, Al Pacino, and landing a spot in the series finale of Friends.

While chatting with Rash about Miss You, Love You, a low-budget, 17-day shoot about two strangers who form a bond through their grief, anger, and resentment, Collider’s Steve Weintraub had the opportunity to revisit a highlight reel of Rash’s career. From his beginnings with The Groundlings to penning the Oscar-winning screenplay for The Descendants, he discusses everything from his greatest failure to the “prickly” on-set atmosphere for the final episode of Friends, and “flop-sweating” in front of Pacino and Catherine Keener.

Don’t miss the full conversation in the video above or the transcript below, where Rash also discusses how Miss You, Love You is a return to “a swath of types of films we love” that Hollywood has designated to the back burner. He shares how HBO Films championed their harried production, how Janney and Rannells conquered a 25-page dialogue scene, 15-minute takes, and why this drama is exactly what audiences are missing these days.

Jim Rash Reflects on Filming the ‘Friends’ Series Finale

“They couldn’t be lovelier.”

Image via NBC

COLLIDER: With Disclosure Day coming up, which is the new Spielberg, do you have a favorite Steven Spielberg movie — without saying Minority Report, since you’re in it?

JIM RASH: Oh, that’s not fair.

Or you could say Minority Report.

RASH: Well, that’s a whole other story, because I’m in but not in it. That’s a story for another day. I don’t know. E.T.?

There’s no wrong answer.

RASH: There can’t be, right? It’s all of them. But then maybe that’s just because, certainly for my generation, that was close to your heart.

With The Odyssey coming out this summer, do you have a favorite Chris Nolan movie?

RASH: Oh my God. Memento?

Sure. Again, no wrong answer.

RASH: No wrong answer. But I love it. I think story and craft-wise, I mean, it breaks your brain.

You were in the very last episode of Friends as a, quote-unquote, nervous male passenger. What was it like being in one episode of Friends, which happens to be the series finale?

RASH: Oh, a complete joy because I arrived in LA in ‘94, I think in their first year, and this was 10 years later, obviously. They were in, understandably, the crew and them, such an emotional place because they were closing a chapter. So, it did feel like you were like a guest in a very prickly — and I don’t mean “prickly” in a negative way, I just mean like, “I’m just gonna come in, do my business, and let them be emotionally understanding that they’re dealing with stuff.” But they couldn’t be lovelier for having all that on their heads right there.

Who was the most excited in your life that you had booked Friends?

RASH: Outside of myself? [Laughs] Because I only live in my own world. That’s hard. I can’t answer that question because I don’t know if there’s a particular one.

You and Nat [Faxon] have a very successful relationship, and I’m just curious, what is the thing that you guys tend to always disagree about?

RASH: There’s not much, but maybe how much we can take on. Because he wants to keep throwing things out, and I’m like, “That’s not how it works.” I like to focus on one thing. He goes, “But I want to do that too.” And that is a great impression of him. “I want to do that too.”

It’s interesting you say that, though. I know a lot of directors, and the reason why they’re attached to six things is they don’t know what’s going to get made.

RASH: And that’s what he would say if you were our therapist and you were batting back and forth. He would say, “Yeah, but we don’t know what’s going to go.” But even for me, I don’t mind a couple of things, but I like to do a few things well.

Jim Rash Reveals His “Favorite Failure” — And the Sketch That Bombed Hard

“It’s a blessed event to crash and burn in front of 99 people.”

Image via NBC.

You have a Grounding background, and I’m curious how that impacts when you’re writing dialogue? Do you act out certain things?

RASH: I walk, or I pace, whether it’s by myself or even with Nat, pacing. In this particular movie, acting out all the characters, at least my version of what it was, because I like rhythm. I do think Groundlings helped me not just with character-based comedy. Even though that’s sketch comedy, we do get to the heart of why these sketch characters are the way they are, and that gives it another layer and then structure. Groundlings was a graduate school for me, so I really was learning structure, even in a five-page version of it.

Between Mike Tyson Mysteries and DuckTales, you voiced some very eccentric characters. Do you find it easier to find a character’s soul through a drawing or through the costume?

RASH: There’s something tactile about having something on. I remember Fly Me to the Moon, which is fabulous clothes. I knew a lot once I put those clothes on.

You were great in that.

RASH: Thank you. And not that a drawing doesn’t do that, but I would say, if you made me choose, I think putting something on helps.

What looks great on screen, but is miserable to film?

RASH: Well, I did Sky High. This was early days. I’m sure they’ve worked it out. The Marvel world understands costumes. We were using, like, the once-you-got-in-it-you-couldn’t-get-out type thing, so they were very hot. I wore this, and they was sort of cumbersome and you couldn’t sit, so they’d have these kinds of chairs that you could just lean against. So, the advancement’s been made, but it looks fun, and it’s a fun character to play. But the morning of sitting in the chair for a long time, you just have to process that, “They’re going to put a bunch of glue on me. We’ll get this on. It’s going to take a while.”

Image via Buena Vista/courtesy Everett Collection

It’s so funny because a lot of people from the outside don’t really understand what it’s like on set and how unglamorous it can be.

RASH: At times, it can be. I mean, it’s all like a playground once you really take a step back and go, like, “I’m grateful for it.” But there was one where the character looks great, but then you realize how much it takes to get into that, and that paled in comparison to anyone on, like, a Star Trek or something.

What’s your favorite failure?

RASH: Well, my favorite failure of a small thing is going to be anything that’s on the Groundlings when you have a sketch that bombs, and I had a thing called “Big, Big Office.” You don’t need to know what it was about, because the audience didn’t want to know what it was about, because they hated it. All I know is it was deadly silent, and at one point, not kidding, a woman from the audience in the dark, all I heard was, “What is going on?” Angry. That’s my favorite failure because it’s a blessed event to crash and burn in front of 99 people.

What’s the most amount of takes you’ve ever done?

RASH: As an actor?

Yes. And then as a director.

RASH: Lord, I did an excruciating, probably 10, I would say, takes when I was in S1m0ne. I’m guessing that was the number of takes. It felt probably like 27. Not because the director wanted it, because I was flop-sweat, Albert Brooks, not remembering my speech, and Al Pacino and Catherine Keener were behind me, and I couldn’t look them in the eyes because I’d just met them. I had one of two flop-sweat moments. One is with the man on your T-shirt, [Steven Spielberg]. Like, Albert Brooks, that was my life.

Image via New Line/courtesy Everett Collection

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I can’t imagine going through that when you’re on set.

RASH: It’s awful. If we had more time, I’d tell you both those stories. And one day I will tell that man the story, because I bet you he doesn’t even know.

What’s the most amount of takes you’ve done as a director?

RASH: To be honest with you, certainly with Way, Way Back, and now with Miss You, Love You, the time was not our… It’s like a three-take thing. So I would say in Downhill we had a little bit more time, and a budget that allowed us, and we had scenes that were very involved. But I would say Julia Louis-Dreyfus — not because she wouldn’t do it; she was given so many different things, but we had to do so many different things on her. I mean, she must have done 20 takes of those things. Again, all gold, just us needing it.

No, totally, and also for coverage. I totally get it.

‘Miss You, Love You’ Returns to the Kinds of Films Hollywood’s Forgotten

“We easily forget the wide swath of types of films we love.”

Image via HBO Max

Getting into why I get to talk to you today, congrats on the movie. I am very confused, though. The movie doesn’t have explosions.

RASH: Nope.

And it’s a lot of people talking.

RASH: Yeah.

So how exactly did you get this made?

RASH: [Laughs] That is very fair, and I’m thankful I’m sitting in front of you. Because many people, including Gigi Pritzker, Madison Wells, and my friend Kevin Walsh, pushed us to the finish line knowing that we had something, and then also Allison [Janney] and Andrew [Rannells] certainly help when they react to something. And while we’re doing it on a small budget on the scales, it’s the movies you love to make, but it’s tough. But every time someone watches a movie like this, and it’s not just this movie, we’re like, “Oh, I miss this!” And I think we easily forget the wide swath of types of films we love. And thank God HBO opened their doors and brought us in and made us part of their home because it’s kind of where these things are.

Image via HBO Max

The thing is, this kind of movie, they used to make a lot of them, and then they’re just gone. So now when I see one, I’m like, “Oh yes, I remember this.”

RASH: It can happen. The journey is always everyone’s got their story of how many years it takes to get something done. I even remember, and I’ve told this anecdote, when we were grateful enough to have the experience of The Descendants, as far as getting to watch Alexander Payne work, he talks a lot about making movies that in the ‘70s would be giant summer tentpoles or something. Not his exact words, but being told, “Oh, I’m making independent movies?” Which is fine. We’re blessed for it. But yeah, it’s lovely to think about that.

I’m always fascinated by how projects change along the way. So you start writing this thing. I know you put a lot of yourself into Andrew’s character, but ultimately, from where he started to what people are going to watch, did it go through radical changes, or was it pretty much, “This is the idea?”

RASH: I guess inevitably it goes through changes, both within my own confines of writing, but when Andrew and Allison came on, I wasn’t having to change the part for them because they could tap into it. I think if anything, it’s like you said, that table for the first time with them, and you start to see where you can pull some words out because they’re giving you beauty within the lines, and that kind of stuff. But I think for the most part, save for the usual trims and cuts, I got what I wrote.

Jim Rash Filmed a 25-Page Scene as One Continuous First Act

The director explains how Allison Janney and Andrew Rannells pulled off a 15-minute take.

Image via HBO Max

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I was so impressed at the beginning of the movie. It is like a play, except a movie, but the first act, I don’t know how many pages of dialogue they did, but it must have been about 1,000. I’m exaggerating, but…

RASH: No, it was 1,000 pages.

What was it like actually filming that, where you need to figure out the blocking and all of that, because you’re in one location, but they have to deliver so much, and you obviously don’t have a lot of time?

RASH: Yes, technically, structurally, the first act is one scene. So like, the first 25 pages are technically one scene for sure.

You sure it’s 25? I thought it was 1,000.

RASH: It’s almost 1,000. It hopefully didn’t feel like 1,000, but I hear what you’re saying. From the minute she opens the door and lets him in to the minute she agrees to let him stay, that’s pretty much act one story structure. So, we took that scene and divided it with Danny Moder, our DP, into three doable chunks.

One of those chunks had to be 13 pages, so for one day, we shot in three days that particular chunk. So what we got to do, though, for their benefit, was we did a long 15-minute takes where they just performed those 13 pages over and over and over again. We were all very quiet for 15 minutes, which allowed them to be very much in the moment. So, it’s stressful, and then I guess you leave the day going, “We got 13!” But, yeah, at least the first act was very much a challenge, as was the fight towards the later part.

There’s some really emotional stuff in the third act, and I’m so curious, as a director, when you have to have actors that are going to really emotionally be vulnerable, and as an actor yourself, how much are you doing the rehearsals of these full scenes in advance, and how much do you want to save the raw emotion that can come out for when you’re actually on set?

RASH: Rehearsal time is limited, especially in these small movies where we have 17 days. We would say, “We have to get them here,” or early in, “Let’s do a little rehearsal.” I had them for a couple of days in the house before we even started shooting to do some of those larger, chunkier things. Not that we got up to the full performance, emotional stuff.

But I feel like at some point you have to sort of read where the actor is going. You can see where this very a lot after a lot. But Allison and Andrew, I would say, for the most part, we do things in three takes. For the most part. But yes, we would get them in the room, see where they wanted to go, and, for the most part, hopefully, follow their lead, unless we were like, “That’s too many setups. We can’t go over there, but what’s over here?” [Laughs]

Miss You, Love You is available to stream now on HBO Max.

Tom Holland is opening up about the surprising new direction behind Spider-Man: Brand New Day, and it sounds like Marvel and Sony are taking Peter Parker into completely uncharted territory.

Spider-Man: Brand New Day Cover [credit: Empire Magazine]

Speaking with Empire, Holland revealed that he actually pitched part of the movie’s story himself, describing it as a “Spider-puberty” concept centered around Peter Parker evolving into adulthood while dealing with dramatic new changes to his powers. According to Holland, “They liked the idea,” and the film appears ready to push Spider-Man further than fans have seen before.

The comments line up with everything Marvel has teased so far about the upcoming movie. Following the emotional ending of Spider-Man: No Way Home, Peter Parker is now completely alone in New York after Doctor Strange’s spell erased him from everyone’s memory. Marvel has repeatedly described Brand New Day as a “fresh start” for the character, with Holland himself calling it “the first movie in the next chapter.”

What makes the new film especially interesting is the reported evolution of Peter’s abilities. Early details surrounding the movie suggest his powers may begin mutating in unexpected ways, including the possibility of organic webbing similar to Tobey Maguire’s Spider-Man films.

Holland also recently explained that the story is heavily focused on identity and growing up, saying the film explores “when young people really find their identity and become adults.”

Spider-Man: Brand New Day Cover [credit: Empire Magazine]

That more grounded coming-of-age direction appears to be exactly what Marvel Studios president Kevin Feige wants for the franchise moving forward. Feige has teased that the movie will deliver a more “classic” Spider-Man story after years of multiverse chaos.

The film is also set to bring in some major new faces. Jon Bernthal is expected to appear as The Punisher, creating what Holland described as a “big brother-little brother rivalry” dynamic between Frank Castle and Peter Parker.

Meanwhile, fans are already buzzing over the film’s darker tone, practical effects, and newly revealed suit design that leans closer to the classic comic book look.

With Spider-Man: Brand New Day positioned as a full reset for Holland’s version of Peter Parker, Marvel may finally be giving fans the street-level Spider-Man story they’ve wanted for years.

Spider-Man: Brand New Day swings into theaters July 31, 2026.

Later this year, in an attempt to shake off the disappointment of Captain America: Brave New World, Anthony Mackie is returning to the MCU, although this time as a small cog in a big machine. In Avengers: Doomsday, scheduled for release on December 18, the MCU is making its biggest leap yet this decade, including the controversial return of Robert Downey Jr., this time as the villainous Doctor Doom instead of Iron Man. Mackie and Downey Jr. join an eye-watering cast in the movie, including Vanessa Kirby, Pedro Pascal, Chris Hemsworth, Anthony Mackie, Tom Hiddleston, Florence Pugh, and many, many more.

With less than six months to go until the clock strikes Doomsday, Marvel fans will be wanting to fill the time with relevant movies and shows. Next month, you can catch one of the new Captain America’s recent movies for free in the U.S. Directed by Academy Award record-breaker Kathryn Bigelow, 2017’s Detroit is a crime drama set against the backdrop of race relations in the summer of 1967, also starring the likes of Jason Mitchell, Kaitlyn Dever, Will Poulter, and Star Wars‘ John Boyega.

Sadly, the film struggled to entice audiences, despite impressing critics. At the box office, against a reported budget of $40 million, Detroit only managed a global haul of $26 million. Split between $16.8 million in domestic revenue and a further $9.2 million from overseas markets, this was one of the year’s most frustrating theatrical flops. Almost a decade on, and you can help redeem this underrated crime drama‘s legacy, as Detroit becomes available to stream for free on Plex starting June 1, 2026.

It Took Kathryn Bigelow Eight Years to Make Another Movie

Following the major box office disappointment of Detroit, it would take Bigelow eight years to return to the feature film director’s chair, and this time she was teaming up with a streamer. In 2025, Bigelow debuted A House of Dynamite, a politically charged thriller that tapped into fears of nuclear war. Written by Noah Oppenheim, the film featured a star-studded cast, including Idris Elba, Rebecca Ferguson, Gabriel Basso, Jared Harris, Tracy Letts, Anthony Ramos, and more. Although failing to impress critics, A House of Dynamite became a big hit for Netflix and consistently topped the U.S. streaming charts.

Detroit will be available to stream on Plex next month. Stay tuned to Collider for more streaming stories.

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Release Date

July 28, 2017

Runtime

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144minutes

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