Live Lounge anecdote and the ‘ultimate party girl’

In the Live Lounge interview, Rodrigo singled out Charli xcx as a particularly supportive figure, calling her “wonderful and lovely” and emphasising that the older artist “couldn’t be more supportive.” Rodrigo added that Charli, whose real name is Charlotte Emma Aitchison, is “such a girl’s girl,” using a phrase that has become shorthand among many young fans for women who uplift other women in their communities.

Rodrigo then recounted their recent night out together, telling the BBC she had gone to what she described as a rave with Charli. “I actually went to a rave with her. I don’t even know if it’s a rave,” Rodrigo said, before clarifying: “I’m not like a party girl, she’s the ultimate party girl, obviously.”

The singer acknowledged that the experience pushed her outside her comfort zone, explaining, “I was a little out of my element, but I had the best time, and she was very lovely.” While Rodrigo did not go into extensive detail about the venue during the radio segment, the brief story highlighted the contrasting public personas of the two stars: Rodrigo’s more introspective, self‑described non‑“party girl” identity next to Charli’s entrenched reputation as a boundary‑pushing nightlife figure.

Where the night took place

Subsequent online coverage connected Rodrigo’s “rave” reference to an appearance the previous week at Lost, a secretive nightclub in London’s Covent Garden housed inside a disused former Odeon cinema. The Tab reported that Rodrigo and Charli were seen at Lost’s closing party, which came only eight months after the club first opened, and described how the venue had hosted performances by acts including Skepta.

A Dazed reporter at the same night described The Dare performing an “electric mix of EDM and garage” as Charli xcx and her husband, drummer and producer George Daniel, moved through the crowd, with Rodrigo following behind them. The report noted that an unusually long bar queue formed when Charli tried to order a drink, and recounted how she later passed by carrying “a water jug full of champagne” amid the phone‑free crowd.

While The Tab characterised the event as a club night rather than a traditional warehouse rave, the outlet suggested Rodrigo may have been referring to that same Lost appearance when she used the word “rave” in the Live Lounge. The description of the setting and crowd underscored the contrast between the more underground club environment and Rodrigo’s usual public image as a festival headliner and arena artist.

Supportive ‘pop girlies’ and community

In the Radio 1 session, Rodrigo’s comments about Charli came in response to a question about which women in pop music she feels championed by, a topic that has resonated with many younger fans who follow conversations around solidarity among women and queer‑inclusive communities in the industry. Rodrigo highlighted that the artists she chooses to surround herself with, both in public and on tour, are musicians who genuinely inspire her and encourage her to improve her craft.

She pointed to English bands Wolf Alice and The Last Dinner Party as examples, saying she personally selected them as support acts for her tour because she thinks “they’re amazing” and considers them friends. Rodrigo added that surrounding herself with musicians she admires helps her stay creatively motivated, describing how these artists “totally inspire me and push me to want to be better.”

The Live Lounge discussion also touched on Rodrigo’s affection for London, where Lost was located, as she praised the city’s “amazing pub culture” and mentioned enjoying local parks and even “swimming in ponds.” Those comments aligned with her broader image as an artist who balances high‑profile appearances with a grounded, everyday appreciation of local culture in the cities she visits.

Music, covers, and an upcoming album

During the same BBC Radio 1 Live Lounge session, Rodrigo performed a cover of “When A Good Man Cries” by Irish singer‑songwriter CMAT . She described putting the cover together with her father as “so much fun” and praised the track as “epic,” calling its sound “twangy and country” and commending its “super, super awesome and unique” lyrics.

After the performance, CMAT reacted by posting a video on Instagram in which she joked that Rodrigo “sang it better than me so now I’m toast,” and invited the American star for drinks, saying they should go for some “pints.” The interaction highlighted a growing network of mutual support among younger pop and indie artists, many of whom share overlapping fan communities that include LGBTQ+ listeners and other audiences who often find resonance in emotionally direct songwriting.

Rodrigo is currently promoting her third studio album, titled *You Seem Pretty Sad For A Girl So In Love*, which is scheduled for release on 12 June 2026. In her Live Lounge remarks, she said she feels “really lucky that I get to do what I do” and admitted she “couldn’t comprehend” how many people want to attend her shows, underscoring the scale of anticipation around the new project.

Reflecting on her creative process, Rodrigo said she loves writing songs and that making music helps her feel less alone, adding that the possibility of helping someone she has never met feel similarly understood is “a really beautiful feeling.” She described that emotional connection as central to why “music’s so magical,” echoing themes of vulnerability and solidarity that have featured prominently throughout her work and public statements.

Rodrigo’s first album *Sour*, released in 2021, topped the UK charts and earned her Grammy Awards in 2022 for best pop vocal album and best new artist, cementing her status as a major voice in contemporary pop. Her second studio album *Guts* followed in 2023, and her forthcoming third record arrives nearly a year after she headlined Glastonbury Festival, marking a rapid rise that has seen her move from breakthrough single to global festival mainstays in just a few years.

Charli xcx, nightlife, and evolving images

Charli xcx, who is 33, has long been associated with a club‑centric, nightlife‑infused aesthetic, and has spoken in other interviews about audiences perceiving her as a “girl who parties and does drugs and is a little bit bitchy,” even as she emphasises that her public persona is only one part of her life. In a feature reflecting on her “brat” era, she said she finds it fascinating to see how people “ingest your personality and spit it back out,” and noted that she does not feel she alone can decide when that particular phase of her career is “over,” suggesting that audiences and culture at large play a role.

Those comments, made in 2025, provide context for Rodrigo’s light‑hearted framing of Charli as the “ultimate party girl” during the 2026 Live Lounge segment. For many listeners, Rodrigo’s anecdote about the rave functions less as a story of wild excess and more as a moment of contrast between two artists who navigate overlapping spaces while maintaining distinct identities and boundaries.

Within pop culture conversations that often include LGBTQ+ fans and creatives, both performers are recognised for cultivating inclusive spaces: Rodrigo through candid, emotionally open songwriting that resonates across identities, and Charli through long‑standing ties to hyperpop, club culture, and a fanbase that includes many queer and trans listeners. Rodrigo’s story about feeling “out of my element” while still having “the best time” with Charli underlines how different artistic personas can coexist within the same nightlife and community spaces in ways that many fans, including LGBTQ+ audiences, experience in their own lives.

According to court documents summarized by TMZ and echoed by LGBTQ+-focused outlets, Von faces two felony charges: domestic battery by strangulation and coercion constituting domestic violence involving the threat or use of physical force. He also faces a misdemeanor count of domestic battery, bringing the total number of charges to three in relation to the same alleged incident.

A representative for the Las Vegas Metropolitan Police Department told TMZ that Von is accused of attempting to strangle a partner at a “palatial million-dollar home” in the city, though police did not publicly release additional details about the address or the nature of the relationship. Reports from outlets including PinkNews and Out state that authorities have not released the name or identity of the alleged victim, and no further descriptive information about the person has been made public.

Court records cited in multiple reports indicate that Von was initially held in a Las Vegas jail on a bond set at $25,246. Several outlets reporting on the case describe this amount as “just over $25,000,” reflecting minor rounding of the exact figure.

Allegations and known details

The felony count of domestic battery by strangulation under Nevada law typically involves allegations that a person intentionally impeded another person’s breathing or blood circulation through pressure on the throat or neck. In Von’s case, police sources cited by TMZ and repeated in outlets such as The Tab and KrisAvalon.com say he is specifically accused of attempting to strangle a partner during a domestic dispute at home.

The second felony charge, coercion constituting domestic violence involving the threat or use of physical force, generally refers to alleged efforts to compel or control a partner through threats or actual violence. Reports do not provide a detailed narrative of what allegedly occurred inside the residence, and none of the publicly available sources include a police affidavit or body-camera description of the incident.

Authorities have not released the alleged victim’s name, gender identity, or other identifying information, and outlets covering the story note that no further information about the person has been made public in order to protect privacy. Some entertainment blogs and social media commentary have speculated about which partner may have been involved, but those posts do not appear in the verified news coverage and remain unconfirmed by law enforcement.

As of the latest reporting on June 4, there is no public court filing that sets out a detailed timeline of events, and the case appears to be in its early stages. Several outlets emphasize that the allegations have not yet been tested in court and that Von, like any defendant, is presumed innocent unless and until proven guilty.

Drake Von’s response and legal posture

The day after news of the arrest first appeared, TMZ published a follow-up in which it reported that Von had issued a brief statement denying the allegations. In that statement, as quoted by TMZ, Von reportedly said, “All allegations are false, charges will be dropped, and it was all a misunderstanding,” while also describing the situation as a “publicity stunt.”

The same report notes that Von suggested he would create content addressing the incident and reiterated his belief that the case would be resolved in his favor. While TMZ attributes these remarks directly to Von, no separate statement from a defense attorney or publicist has been widely circulated in LGBTQ+ or mainstream outlets as of June 4.

TMZ’s follow-up also indicates that Von was later released from custody after posting the $25,246 bond that had been set in his case, although specific timing of his release is not given. Other outlets referencing court records continue to describe the matter as developing, noting that future court hearings are expected but not yet detailed in public reporting.

None of the major entertainment or LGBTQ+-focused outlets have reported any countersuit, restraining order, or separate criminal complaint related to the incident at this time. It also remains unclear whether Von has retained a specific criminal defense attorney whose statements might later clarify his legal strategy.

Career, public profile, and community context

Drake Von is widely recognized within gay adult entertainment, with outlets noting that he has millions of followers across social media platforms and has earned multiple GayVN Awards for his performances. He rose to prominence in the mid-2020s, including work as an exclusive performer for major gay adult studios and appearances in high-profile productions.

Recent biographical summaries state that Von co-hosted the 2026 GayVN Awards and participated in LGBTQ+ reality content, including the OUTtv series “Ultimate Boys Trip,” underscoring his visibility within queer media and adult entertainment culture. That visibility means the arrest has drawn swift coverage from LGBTQ+-focused outlets such as PinkNews, Gay Express, and Scene Magazine, as well as mainstream celebrity news platforms.

Coverage so far has focused primarily on the legal allegations and basic career background, and there is little reporting yet on how the case may affect his current or future work in adult entertainment. No major studios or production partners had issued public statements about the case in the news reports reviewed as of June 4.

For many LGBTQ+ people and advocates, allegations of domestic violence within queer relationships underscore the importance of accessible support services and survivor-centered responses that recognize that intimate partner violence can occur in any community. While the outlets reporting on Von’s case focus primarily on the criminal allegations, the story also intersects with broader conversations about safety, consent, and power dynamics in relationships involving public figures and performers.

Due process, privacy, and what comes next

Reporting from B-Gay, Scene Magazine, and Gay Express notes that the case is at an early stage and emphasizes that it will proceed through Nevada’s criminal justice system, where prosecutors must decide how to pursue the charges and whether to offer any plea arrangements. As of June 4, no trial date or detailed schedule of hearings has been widely publicized in entertainment or LGBTQ+ media.

Because the alleged victim’s identity has not been disclosed, news organizations covering the case have limited their reporting to information contained in court records, police statements, and Von’s own remarks, without publishing details that could lead to the person being identified. That approach aligns with common standards in reporting on alleged domestic violence, where protecting safety and privacy is often prioritized, particularly while facts are still emerging.

Future developments in the case may include formal arraignment, pretrial motions, and possible plea discussions, any of which could shed new light on the allegations and the evidence presented by prosecutors and defense attorneys. LGBTQ+-focused outlets that first reported on Von’s arrest indicate that they expect to update coverage as more verifiable information becomes available from court filings and official statements.

As of now, the central facts established across multiple independent outlets are that Von was arrested in Las Vegas on June 2, 2026; that he faces two felony charges and one misdemeanor related to alleged domestic violence; that he has publicly denied the allegations; and that the case remains active in Nevada’s court system.

Pattie Gonia has performed under that name since 2018, combining drag, climate advocacy and outdoor recreation to raise funds for environmental organizations and build a large social media following. Supporters highlight that Wiley’s drag persona has helped raise “millions” for environmental causes and inspired LGBTQ+ community members and allies to participate in hikes, outdoor events and climate‑focused projects, including long‑distance backpacking in drag.

The recent escalation: “No deal” and public pressure

The dispute moved sharply into the public eye in late May 2026, when Pattie Gonia publicly rejected a settlement proposal from Patagonia and framed the terms as an attempt to erase her name, advocacy work and business. In a May 27 statement shared on Instagram, she said the lawsuit left her with a choice between “erasing my name, my advocacy, my community, and everyone I employ” or fighting in court, adding that legal costs could exceed US$1 million even though Patagonia’s monetary demand is nominal.

Outdoor‑focused outlet Westword reports that Pattie Gonia posted a video on May 27 declaring, “If Patagonia wants to celebrate Pride Month this year by taking a queer climate activist to federal court, then I am here to fight,” characterizing the case as a corporation “trying to erase an activist.” Coverage from ABC’s Good Morning America and other national media notes that Pattie Gonia has also encouraged followers to contact Patagonia and urge the company to drop or reconsider the lawsuit, effectively turning the case into a public campaign as Pride season begins.

Patagonia, for its part, released a statement on May 27 saying it attempted to “find a path forward” that would allow Pattie Gonia to continue work while also protecting the company’s trademark. The company emphasized that it has a “responsibility” to defend its mark, insisted the case is not about financial gain or contesting anyone’s identity or right to advocacy, and said that a legal fight with a figure who “shares our values” was “the last thing we wanted” but necessary to protect its business and employees.

The legal claims and history between the parties

Legal summaries indicate that Patagonia’s complaint focuses on both the similarity of the names “Patagonia” and “Pattie Gonia” and historical uses of stylized graphics or altered logos that Patagonia argues could confuse consumers. The lawsuit alleges that Wiley sells merchandise and offers services—such as motivational speaking on environmental sustainability and organizing hikes—that overlap with Patagonia’s advocacy‑oriented brand positioning, and that her efforts to register “Pattie Gonia” as a trademark marked a shift from “discreet use” of a persona into a broader commercial enterprise.

Reports from Metro Weekly and other outlets describe Patagonia’s contention that there was a previous understanding limiting the use of logos resembling Patagonia’s branding, which the company claims Pattie Gonia later violated through merchandise sales in 2024 and a 2025 trademark application. The complaint cites social media posts and images where altered Patagonia logos feature the drag name, arguing that these examples show “confusion already has occurred,” even though more recent Pattie Gonia merchandise reportedly does not resemble Patagonia’s logo or typography.

Westword notes that while Patagonia is seeking only US$1 in damages, it also requests that Wiley pay attorneys’ fees, which she estimates could surpass US$1 million, potentially placing significant financial pressure on an individual artist. The California Lawyers Association’s overview explains that trademark law gives brands broad rights to challenge uses they see as likely to confuse consumers or dilute their marks, a framework that can be especially consequential when artists and activists build work around wordplay involving well‑known corporate names.

“Pink glass ceiling” and corporate LGBTQ+ branding

A June 4 PinkNews column describes Pattie Gonia as having “hit the pink glass ceiling,” using the phrase to argue that LGBTQ+ creators can be welcomed as symbols of diversity but face barriers when they seek to formally own and commercially protect their brands. The piece suggests that the breaking point in this case was not public visibility or activism but the 2025 trademark application for “Pattie Gonia,” which the writer characterizes as a step “too far” for Patagonia and emblematic of a broader tension between queer self‑determination and corporate legal power.

Commentators in LGBTQ+ media and intellectual property circles note that while trademarks are designed to prevent consumer confusion, the system can have disproportionate impacts on marginalized communities that rely on parody, pun and satire to build culture and critique power. The PinkNews article also points to a paradox in which LGBTQ+ symbols and language are frequently treated as part of a shared public domain that corporations may freely adopt, even as individuals and smaller queer‑led entities can face challenges when asserting ownership or exclusive rights.

Critics of the lawsuit interviewed by outlets such as Westword and Axios argue that bringing a queer climate activist to court during Pride season undercuts Patagonia’s longstanding progressive image, even if the company is acting within its legal rights. At the same time, Patagonia maintains that consistent enforcement of trademarks is essential for all companies, including those that use their brands to support environmental and social causes, and says it is not challenging Pattie Gonia’s right to be a drag artist or climate advocate.

Impact on Pride, outdoor culture and future cases

The case is unfolding as Pattie Gonia prepares to headline major LGBTQ+ events, including a main‑stage performance at Denver PrideFest scheduled for June 28, where she is expected to draw large crowds as a returning featured artist. Her 2026 tour schedule published on her official site lists numerous sold‑out or high‑profile dates across the United States, underscoring both her reach and the stakes of any ruling that might limit the use of her stage name in promotions, merchandise or partnerships.

Media analysis suggests the conflict is resonating widely in part because it touches three influential communities at once: LGBTQ+ audiences, outdoor enthusiasts and climate activists. For some supporters, the lawsuit raises questions about whether queer and trans environmental advocates can safely align with, parody or critique brands in spaces—like outdoor recreation—that have historically skewed cisgender, white and male.

Legal experts quoted by the California Lawyers Association and other outlets indicate that the outcome could influence how future cases involving parody, activism and wordplay are evaluated against trademark protections, especially when the disputed use involves adjacent markets rather than direct product copies. If the court sides strongly with Patagonia, artists who build identities around riffs on famous brands could face greater legal risk, while a narrow or favorable ruling for Pattie Gonia might embolden more satirical or activist uses of corporate marks, particularly in queer and activist spaces.

At this stage, the case remains active, with no reported final judgment, and both sides continue to present their positions in court filings and public messaging. Observers across LGBTQ+ media, legal analysis and outdoor culture are watching closely to see whether the dispute will be resolved through settlement or a court ruling, and how that outcome will shape the landscape for queer creatives navigating trademark law and corporate partnerships.

In remarks captured by multiple outlets, Simpson told the crowd she had come to realize that drinking “wasn’t numbing my pain” and that it was “actually causing more pain,” a line that drew particular attention because of how directly it reframed her past substance use. She went on to say that she now celebrates “each and every day” that she feels alive and present in her body and that sharing the new song felt “right” in that moment.

Simpson concluded the onstage reflection with an appeal for self-compassion, encouraging audience members to “have a little grace” for themselves and assuring them that “everything is gonna be OK if you just give it all away,” echoing the song’s title and theme. In a separate report on the same performance, she was quoted as explaining that during her drinking years she became “somebody that I was afraid of, somebody I did not know and understand,” language that underscored how disorienting that period felt to her in retrospect.

Background and Context

Simpson has spoken publicly for several years about her decision to stop drinking after what she has described as a personal breaking point on Halloween 2017. In her 2020 memoir “Open Book,” she detailed how alcohol became a way to self-medicate the trauma of childhood sexual abuse and the pressures of early fame, before ultimately contributing to a version of herself she no longer recognized.

In past interviews, Simpson has described waking up after that 2017 Halloween party and realizing that alcohol had left her “an unrecognizable version of myself,” prompting her to commit to sobriety. She later wrote that to reclaim her “light” and move forward without regret, she needed to stop drinking because it kept her “mind and heart circling in the same direction,” leaving her exhausted and unable to process her pain in a way that led to growth.

Her memoir and subsequent interviews have addressed the stigma surrounding labels like “alcoholism” and “alcoholic,” with Simpson stressing that the deeper work involved learning to accept failure, pain, and self-sabotage rather than focusing solely on the substance. She has said that “the drinking wasn’t the issue” so much as the fact that she “didn’t love” herself or respect her own power, framing her recovery as part of a broader journey toward self-worth.

Marking milestones and challenging stigma

As of late 2025, Simpson publicly marked eight years of sobriety in an Instagram post that was subsequently reported by several entertainment and news outlets, reflecting on the ways alcohol had once “blocked” her dreams and silenced her intuition. She wrote that choosing sobriety allowed her to live more fully “in the pursuit of God’s purpose” for her life and that she now felt “clear” and “driven by faith,” emphasizing surrender rather than struggle as the source of her strength.

In those reflections, Simpson described how alcohol once chased her “circulating fears of complacency” and left her overthinking her creative decisions, particularly in recording sessions in Los Angeles around 2016 and 2017. She said that after she stopped drinking, those fears diminished and it became easier to access her authentic artistic voice, even as she stepped away from the pursuit of conventional pop “hits.”

Simpson has also used social media to push back on speculation about her sobriety, responding in 2024 to an Instagram comment that urged her to “STOP DRINKING” by stating that she had not “wanted or touched alcohol since October 2017” and calling that choice “the best decision” for herself and her family. In that reply, which was widely shared, she thanked the commenter for their concern but said they had her “very misunderstood,” and she emphasized that she could still feel hurt by judgmental remarks even after years of working to block out “destructive noise.”

“Drinking was causing more pain”

The June 2 performance comments about drinking “causing more pain” echoed ideas Simpson has expressed in earlier essays and interviews, but this time she linked them directly to new music that explicitly addresses her recovery. She introduced “Give It All Away” as a song about learning to release the burdens and self-sabotaging patterns that once kept her stuck, telling the Yaamava’ audience that “it felt right” to share it after describing her ongoing work in therapy and self-reflection.

Onstage, she reflected that she had not understood “all of the traumas” she was holding onto until she began looking inward, saying that the process of confronting those experiences was “really painful” but necessary. She also linked her sobriety to her role as a parent of three children, explaining that, during her drinking years, she did not feel like a good role model and that this realization was part of what motivated her to step away from alcohol.

Her message to the crowd emphasized progress rather than perfection, as she described herself as continuing to learn and encouraged others to extend that same patience to themselves. By framing sobriety as an everyday choice rather than a completed task, Simpson aligned her story with many recovery narratives that stress ongoing commitment, including for LGBTQ+ people and other marginalized communities who may face additional stressors around stigma, identity, and visibility.

Broader resonance of her story

Simpson’s public reflections have often intersected with broader conversations about mental health, trauma, and substance use, particularly among women navigating public scrutiny of their bodies, relationships, and parenting. By speaking openly about childhood sexual abuse, self-medication, and the pressure to appear “fine” in public, she has contributed to a growing body of celebrity testimony that challenges the idea that success and suffering are mutually exclusive.

Her comments have also been reported alongside reminders that many people in recovery, including LGBTQ+ people, face judgment and speculation about their sobriety, sometimes from strangers online. In response, Simpson has stressed compassion even for those who post hurtful remarks, saying she feels “compassion for the opinionated hate” and emphasizing that “nobody is alone” in wanting to feel or do better, a sentiment that aligns with inclusive, person-first approaches to recovery and mental health.

As she continues to perform and develop new projects, Simpson has framed her sobriety as integral to her creative work and personal life rather than as a separate chapter. The recent performance in California, with its frank admission that “drinking wasn’t numbing my pain, it was causing more,” suggests that her upcoming music may continue to draw on that lived experience in ways that resonate with audiences navigating their own paths toward healing, whether around addiction, trauma, or the challenges of living openly as themselves.

“Those were Froot Loops,” Spielberg says, smiling. “My favorite.”

Spielberg’s latest, like some of his earliest and most beloved films, again concerns what might fall from above. “Disclosure Day,” which Universal Pictures releases June 11, returns Hollywood’s preeminent big-screen craftsman to one of his most abiding questions: Are we alone?

Coming nearly half a century after “Close Encounters of the Third Kind,” “Disclosure Day” is a grand bookend for one of the most cosmically-minded moviemakers of our time, whose dreams of extraterrestrial life have shaped all of ours. It’s a distant answer to the final notes of “Close Encounters.” But while Spielberg grants his 1977 film was “speculative,” “Disclosure Day,” he insists, is the real deal.

“It’s my first film that will be considered science fiction that I do not consider to be science fiction,” Spielberg said in a recent interview. “It’s much more reflective of the world as it is evolving and discoveries that are being made as we speak.”

Spielberg, at 79, is trying to revive and reconsider the alien wonder that’s long lingered in his mind, from “E.T.” to “War of the Worlds.” “Disclosure Day,” Spielberg’s first summer movie in a decade, is already being hailed as one of his best in years. But this time, Spielberg is testing whether he can conjure some of his trademark movie magic less with imagination than with conviction.

“I’ve been a believer since I made ‘Close Encounters’ 50 years ago,” Spielberg says. “But I would always say: Until I’ve seen a UAP or a UFO with my own eyes, I’m not going to categorically state that life from out there has come here.

“But I’ve changed that,” he adds. “I’m now willing to change my mind because of the circumstantial evidence which is overwhelming.”

Aliens again, but different

“Disclosure Day” stars Josh O’Connor as a cybersecurity whistleblower with government evidence, long suppressed, chronicling a history of alien encounters. Guiding him in his escape from a corporate executive (Colin Firth) trying to keep it all under wraps is the disclosure movement’s leader (Colman Domingo). Meanwhile, a meteorologist named Margaret Fairchild (Emily Blunt) begins having a mysterious epiphany.

When he first began thinking about the movie, Spielberg called up the screenwriter David Koepp, a longtime collaborator who wrote “Jurassic Park” and “War of the Worlds.”

“I said, ‘Sure, what’s it about?’” recalls Koepp. “And he said, ‘Oh, you know, aliens again. But different this time.’”

Spielberg was coming off an unusually long break by his breakneck standards. His 2022 film “The Fabelmans” pulled from his own childhood, dramatizing his parents’ painful divorce and his own origins as a filmmaker. Spielberg’s first gut-wrenchingly autobiographical movie left him unsure of what was next.

“It was the hardest question I ever had to ask myself because there was such completion in resolving so many personal issues that I had never aired in public before ‘The Fabelmans,’” Spielberg says.

“I didn’t care whether people thought ‘The Fabelmans’ was just a tale, a yarn, or if they cared that it was all true. I didn’t care about that. It was something I did for myself. I always used to say it was $40 million of therapy that I didn’t have to pay for. Universal did,” he says, laughing.

But Spielberg, having long followed reports of alleged alien encounters, was inspired by the 2023 House Subcommittee on National Security hearing on UAPs: Unidentified Anomalous Phenomena. Among the witnesses was whistleblower and former Air Force intelligence officer David Grusch, who testified that the government concealed a program investigating UAPs.

The Pentagon then denied it. Yet in April, President Donald Trump said the Pentagon is preparing to release some “very interesting” UFO files.

Those 2023 testimonies and others so fueled Spielberg that he produced a 50-page treatment on what would become “Disclosure Day." During the writing process with Koepp, he texted him more notes, he says, “than I’ve ever sent to anyone in my life.”

“There was a period in there where I believe he re-read the script every single day for a year,” Koepp says. “We’d be in different time zones and I would wake up to 30 or 35 texts from his most current reading of the script. When the leader of the project has that level of commitment, it tends to bring along everyone. You up your game.”

Extraterrestrial empathy

Spielberg has long considered his filmography split in two, between the filmmaker who made “Jaws” and “E.T.” and “Raiders of the Lost Ark,” and the one who, after 1985’s “The Color Purple,” was increasingly drawn to darker and more serious material with films like “Schindler’s List,” “Saving Private Ryan” and “Munich.”

“Disclosure Day” is a kind of bridge between both modes of Spielberg — a thrilling chase movie filled with wonderment that’s nevertheless grounded in reality and recent history. And its most ardent message is quite earthbound. Blunt’s character’s clarity comes from looking people in the eye. As much as it’s about aliens, “Disclosure Day” is about empathy.

“I think every movie should have a great emphasis on empathy because empathy sometimes feels like it’s in short supply,” Spielberg says. “We have it, sometimes we can’t use it. Sometimes it’s not allowed to be used if you want to stay aligned with your friends and your belief systems. But I think empathy is there for all of us.”

“Disclosure Day” opens in a much different movie world than Spielberg's earlier alien adventures. It's one of few big, original studio movies this summer — a moviegoing season that the “Jaws” filmmaker pioneered. But neither franchise domination, AI nor streaming make Spielberg fret for the future of movies.

“The audience gives me faith in the movies," says Spielberg. "Even though the numbers are still not pre-COVID level numbers for any films being released now, it’s more robust than it has been for many years. The audience gives me belief that people still want to congregate in a dark space in the company of strangers to share an experience of a film made by storytellers. And that gives me faith to continue making films.”

Spielberg will turn 80 this December. Around the same age, Martin Scorsese began to frankly ponder how many movies he had left. Spielberg doesn’t think the same way.

“I never think about how many more I have,” he says. “I’m just hopeful that I will be inspired when something comes along, as I was with ‘Disclosure Day,’ as I was with ‘Fabelmans,’ as I was with ‘West Side Story.’”

More inspiration is already on the way. Spielberg hopes that his next movie will be a Western. Despite his deep fondness for the genre and an indelible encounter with John Ford, it’s one genre that’s eluded him.

“I always feel like parts of the ‘Raiders’ adventure movies are like Westerns,” he says. “Whenever Harrison (Ford) was on a horse, it made me wistful for wanting to direct a full Western, a real Western.”

Margaret Fairchild in “Disclosure Day” has some echoes with another Spielberg protagonist: Richard Dreyfuss’ Roy Neary in “Close Encounters.” Both are compelled by a strange force beyond their control. It’s a character type that Spielberg, a compulsive movie maker, grants he connects with. “Disclosure Day” is his 35th feature film.

“I identify with characters who aren’t afraid of mysterious things happening to them,” Spielberg says, “and who are fighting for their survival by trying to discover what they don’t know.”

Brown says that while the show projected hope and transformation on screen, he often felt trapped, depressed and ashamed off camera, especially as someone whose role was to coach others on mental health and personal growth. He recalls feeling a deep disconnect between the supportive mentor viewers saw and the isolation he says he experienced in his professional life, telling People, “It felt shameful because I was teaching people that they could be better, but in my own life I was trapped.”

‘I wasn’t coping right’: relapse after 12 years sober

Brown explains that his relapse came after more than a decade without drugs or alcohol, a period of sobriety he traces back to 2006, when he learned he was a father and decided to stop using substances. According to the new accounts, he relapsed while filming Queer Eye’s third season in 2018, describing how what started as workplace stress relief escalated into a broader return to substance use.

He says the pattern often began innocuously: “It was: ‘I’m stressed from work, meet me at a bar for a drink,’” Brown recalls in the People interview, adding that “a drink would lead to weed, cocaine, pills.” He reflects that he “wasn’t coping right” and was pretending to function while feeling “so broken,” emphasizing that for him, the core struggle was not only the substances but the “feelings underneath” that he had not faced.

Brown also offers specific examples of his substance use during that period, saying that after a couple of beers he could “smoke weed…all night and not be able to function,” and that he might use cocaine “to keep the party going and make me feel connected when it did not.” He frames these experiences as part of a larger struggle with avoidance and emotional pain, underscoring that what he now teaches others is that “it’s not the substance you’re struggling with, it’s the feelings underneath that you haven’t focused on.”

Behind-the-scenes tension and family impact

Brown’s disclosure about relapse is intertwined with his decision to publicly address a reported breakdown in relationships with some of his Queer Eye colleagues and with production staff. He alleges that over time, certain behavior by cast members and executives was excused rather than challenged, saying, “Everyone would just say, ‘Well, that’s just that person,’ instead of saying, ‘This behavior does not fly in a professional environment,’” and that this “impacted me negatively, consistently.”

He also recounts clashes with members of the production team, claiming that one person told him, “You are not a star. I will get rid of you tomorrow,” a comment he says came amid ongoing conflict about how concerns were handled behind the scenes. The atmosphere, he says, contributed to his depression and compounded the shame he felt about not living up to the hopeful message he promoted to participants on the show.

One turning point, Brown says, came when his mother visited the set and allegedly overheard several of his co‑stars speaking negatively about him. He recalls seeing “the tears” in her eyes as she repeated, “I thought they were your friends,” an experience he describes as clarifying his need to stop staying silent about how often he felt like an outsider within the group.

Brown emphasizes that he also recognizes his own role in the fallout, telling People that “there were times I was hurt and would lash back out,” and that doing more intensive personal work over the last year and a half has helped him examine those reactions. He says that creating distance from some promotional duties—including his decision not to join his Queer Eye colleagues for a CBS Mornings appearance earlier this year—has been part of “protecting” his mental health and peace.

Recovery, accountability and a new chapter

Brown says he has now been sober again for about a year and a half, attributing the renewed commitment in part to a frightening incident in which a guest had a negative reaction to a substance at his home. He recounts that “since that day, I’ve not had a single drink, cocktail—nothing,” describing his current sobriety as supported by a 12‑step program and regular recovery meetings.

He links his renewed sobriety to a broader sense of purpose rooted in family, noting that he first got sober in 2006 after discovering he had a son, Jason, and that becoming a parent “healed” something in him and clarified his responsibilities. Brown also says his commitment has deepened as he prepares to become a grandfather, sharing that learning Jason is expecting a child made him feel that his sobriety is “even more important” for the next generation.

In the People interview, Brown frames the last year and a half as a period of intensive personal work, saying that this “new chapter feels safe and it feels triumphant because it has been a year‑and‑a‑half of real work on myself.” He says that work has included making amends, setting firmer boundaries, and speaking more openly about experiences—including his relapse—that he previously kept private out of fear and shame.

Brown has shared aspects of his mental health journey before, previously disclosing a suicide attempt in 2006 and describing how support from loved ones and access to care helped him survive. His latest remarks, however, add new detail about the pressures of reality television production and the way those pressures intersected with his recovery, especially as a highly visible gay Black man whose on‑screen persona centers emotional vulnerability and self‑acceptance.

Wider conversations on sobriety and LGBTQ+ mental health

Brown’s account arrives amid broader conversations about mental health, addiction and labor conditions in the entertainment industry, particularly for LGBTQ+ people and people of color who may face overlapping pressures on and off camera. Advocacy organizations and clinicians have long noted higher reported rates of substance use disorders and mood disorders among LGBTQ+ communities compared with the general population, often linked to stigma, discrimination and chronic stress, though Brown’s interview does not cite specific statistics.

By tying his relapse to “not facing my demons” and to unaddressed workplace dynamics, Brown implicitly underscores themes that resonate across recovery communities: the importance of safe working conditions, the need for supportive environments, and the reality that sobriety is often an ongoing, non‑linear process. He also reiterates a message aligned with many harm‑reduction and recovery perspectives: that addressing underlying pain, trauma and mental health concerns is central to sustainable recovery from substance use.

Brown says he hopes his experience will encourage others to seek help and explore life without drugs or alcohol, describing sobriety as not only possible but “so fun” and fulfilling. For LGBTQ+ viewers and others who have followed his story, his willingness to speak about relapse as part of a longer recovery journey may offer a reminder that setbacks do not erase progress, and that support, treatment options and community remain available.

In a recent appearance on Amy Poehler’s podcast Good Hang, Holland shared that SNL has reached out to him “a few times” over the years, but he has declined each invitation. While stressing that he loves the show and the idea of having fun on live television, he said the practical realities of SNL’s last‑minute rewrites and reliance on handwritten cue cards make the prospect “terrifying” for him.

“I’m Heavily Dyslexic” — Holland’s Explanation

Speaking with Poehler, herself a former SNL cast member and frequent host, Holland stated plainly, “I’m heavily dyslexic,” framing the condition as one of the main reasons he has “never done SNL.” He said he was eager to talk about dyslexia on the podcast, noting that it affects how he handles specific work situations rather than his overall ability to read.

Holland emphasized that he can read “fine” but that reading aloud creates a particular challenge. He described experiencing a “mental block” when asked to read in front of others, saying that in those moments, he can “freeze,” a reaction that is amplified under the pressure of live television.

Fear of Cue Cards and Live Changes

Central to Holland’s reluctance is SNL’s traditional use of cue cards, which are often updated with changes shortly before or even during broadcast. On Good Hang, Poehler immediately connected his comment about dyslexia to the show’s paper cue cards, exclaiming “Because of the cue cards?!” as he confirmed that concern.

Holland said he is “just so petrified at the concept of trying to read something and they change,” explaining that the unpredictability of last‑minute edits is particularly stressful when combined with reading aloud on live television. He reiterated that SNL’s format, which leans heavily on performers reading directly from cue cards as scripts are revised, makes the prospect of hosting much more daunting than a fully pre‑scripted project.

“Worst Day at Work Is the Read-Through”

Beyond SNL, Holland said that table reads are consistently the most challenging part of his work as an actor. He described read‑through days as his “worst day at work,” explaining that speaking lines aloud from the page in front of colleagues is where his dyslexia‑related difficulties tend to surface most sharply.

To manage this, Holland said he highlights his dialogue in advance and learns his lines ahead of time so that, in read‑throughs, he is “more skimming it than I am reading it.” That strategy, he suggested, is harder to apply in SNL’s live format, where changes may appear on cards seconds before lines have to be delivered.

Grateful for Invitations, Afraid of Live Pressure

Holland emphasized that he feels “really lucky” SNL has contacted him about hosting on multiple occasions. He confirmed that the show has reached out “a few times,” and that his refusals are not about disliking the series or resisting comedy, but about the fear of freezing on live television.

Describing his internal conflict, Holland said he loves the idea of “having fun and making a fool of yourself in such a fun, creative way” on SNL, but called the cue‑card element “the thing” he cannot get past. He characterized his overall feeling as being “just really scared” of the live reading requirement, even as he continues to perform in large‑scale films and stage productions.

Amy Poehler’s Perspective and SNL’s History

Poehler, who spent years as a cast member on SNL and has returned as a host, responded to Holland with empathy and humor. Reports on their conversation highlight that she acknowledged the difficulty of reading the show’s fast‑changing cue cards, while also conveying reassurance drawn from her own experience.

Coverage of the podcast notes that Poehler suggested other performers with dyslexia have hosted SNL, implying that the show has a history of working with people who have similar access needs. Though specific names were not widely reported in these write‑ups, her reaction underscored that Holland’s hesitation exists within a broader context of performers navigating live television with diverse learning profiles.

Dyslexia, Visibility, and Live TV

Holland’s comments add a high‑profile voice to ongoing conversations about how the entertainment industry can better support people with dyslexia and other learning differences, particularly in high‑pressure live environments. While his main focus in the interview was personal, his remarks implicitly highlight how production formats — such as cue‑card‑driven live broadcasts — can either increase or reduce barriers for performers with dyslexia.

Entertainment outlets covering the story have framed Holland’s decision as a careful balance between professional opportunity and personal well‑being, rather than a rejection of comedy or live performance altogether. Articles note that he continues to take on demanding roles, including a planned appearance in Christopher Nolan’s film adaptation of The Odyssey, illustrating that his dyslexia shapes — but does not limit — the kinds of projects he chooses.

What Holland’s Revelation Means for Fans and Future Invitations

For fans who have wondered why a Marvel lead with a long list of talk‑show appearances has never fronted SNL, Holland’s explanation offers direct clarity. The actor’s description of feeling “petrified” by the idea of reading rapidly changing cue cards live contrasts with his otherwise confident public persona, underlining that on‑camera ease can coexist with specific access needs.

As of early June 2026, reports do not indicate any concrete plan for Holland to overcome these concerns and host SNL in the near future. Instead, his recent comments position him as a prominent figure openly discussing dyslexia in mainstream entertainment, while leaving open the possibility that different production approaches or personal comfort levels could someday change his calculation.

In a conversation with co‑star Carl Radke on the “More Life” podcast, Dillard said that the relationship strain intensified as work dried up and he paused modeling to focus on the Bravo series, leaving him under severe financial pressure. He explained that he began “taking out” what he was going through on Levitan without realizing it at the time, which he now views as part of the larger mental health crisis that culminated in self‑harm and hospitalization.

Hospitalization, Diagnosis, and Recovery

Dillard first disclosed the extent of his mental health struggles publicly during part one of the “Summer House” Season 10 reunion, which aired May 26, where he said he was hospitalized for a week after engaging in self‑harm in the fall. During the reunion, he became emotional as he told host Andy Cohen that co‑stars Ciara Miller and Mia Calabrese visited him at the hospital “almost every day,” describing them as key supports through what he called “some heavy stuff mentally.”

While in the hospital, Dillard was diagnosed with borderline personality disorder, a condition he said finally helped explain the intensity of his emotions and relationship patterns. He recounted that after leaving the hospital he spent “a few months” in a recovery program, using the time to focus on therapy and medication, and later told outlets that he now feels “better” and more able to face challenges instead of “running away” from them.

‘She Had To’: How the Breakup Happened

During the “More Life” discussion, Dillard said that the breakup with Levitan took place after his hospital stay, when he transitioned into recovery and began confronting the full weight of his mental health and financial challenges. He recalled that the split came at a time when he “hit rock bottom” and described himself as “in the worst place ever,” adding that Levitan ended the relationship “because she had to” given how much he was struggling.

Dillard also said that close friend and co‑star Mia Calabrese encouraged Levitan to take that step, believing a break would be healthier for both people while he pursued treatment. He framed the breakup not as a lack of care but as a boundary that allowed him to enter recovery more fully, telling Radke that he “needed the time” away from the relationship to work on himself in therapy and stabilize on medication.

In a separate interview cited by entertainment outlets, Dillard explained that before filming the show there was “nothing really going on” professionally, and that he paused modeling work over the summer to commit to the series, which compounded financial stress. He told Radke that the combination of slowed work, mounting bills, and unresolved mental health conditions left him in what he called a “terrible place” that he did not fully recognize at the time, and that he unintentionally displaced some of that distress into conflict with Levitan.

Relationship Status Remains Unclear

Public reporting indicates that Dillard and Levitan have at different times confirmed they were still together, with a Bravo update in April 2026 saying the couple remained “very much together” and had shared affectionate glimpses of their relationship on social media in the preceding months. Coverage noted that as of March the pair had reaffirmed their relationship status, amid the airing of “Summer House” Season 10, which introduced Dillard to viewers as a new cast member navigating both romance and rising public visibility.

However, by late May, outlets including Cosmopolitan and fan‑focused sites reported that the current status of the relationship was uncertain, pointing to signs such as Dillard and Levitan briefly unfollowing each other on Instagram and reducing public references to one another. Those reports also note that Levitan recently reposted an interview about Dillard’s mental health journey on her Instagram Story, signaling ongoing public support for his recovery even as fans continue to speculate about whether they are currently a couple.

Dillard has not provided a detailed, on‑the‑record update on the present state of the relationship beyond describing the earlier break and the reasons he believes the pause was necessary. As a result, major outlets continue to describe the couple’s current status as “unclear,” framing the story primarily around his mental health disclosures and the impact of his diagnosis rather than any confirmed breakup or reconciliation.

Fans and Cast Respond to His Mental Health Journey

Dillard’s openness at the reunion prompted a wave of support from viewers, with entertainment outlets documenting comments from fans who praised him for speaking candidly about self‑harm, hospitalization, and living with BPD on a mainstream reality platform. Coverage describes social media posts thanking him for helping to reduce stigma and for acknowledging the support of friends, including fellow cast members Ciara Miller and Mia Calabrese, who he has called “sisters for life.”

In follow‑up interviews, Dillard has said that talking about his diagnosis publicly was “the hardest thing” he has experienced but that he believes it is important to face his history instead of avoiding it. He has also shared that he is now in therapy, on medication, and writing poetry as part of his recovery process, presenting a narrative that centers ongoing care and self‑understanding rather than a single turning point.

A Reality TV Storyline Grounded in Mental Health

Dillard’s account of his breakup and diagnosis adds to a growing number of reality television narratives that foreground mental health, including anxiety, depression, and complex personality‑related conditions. For viewers, his story offers a look at how intensive treatment, community support, and relationship boundaries can intersect when someone is navigating BPD and serious financial stress in a high‑profile environment.

Reporting to date emphasizes that Dillard continues to frame the breakup with Levitan as part of a broader journey toward stability, rather than as a simple end to a relationship storyline. He has consistently highlighted the care shown by his friends and by Levitan herself, suggesting that their decision to step back from the relationship during his “terrible” period was rooted in concern for the well‑being of both people.

The A24‑distributed psychological horror film opened in U.S. theaters on May 29, 2026, after a premiere at the Aero Theatre in Los Angeles earlier that month, and swiftly outperformed pre‑release forecasts.

Industry tracking had initially projected Backrooms to debut around $20 million domestically, with later updates nudging estimates to the $40–50 million range as buzz intensified.

Instead, the film opened to approximately $81.5 million in North America and about $118 million worldwide in its first weekend, on a reported production budget of about $10 million.

As of June 2, 2026, Backrooms has grossed roughly $89.1 million in the United States and Canada and $37.1 million in other territories, for an estimated global total of $126.2 million.

The performance has made Backrooms the biggest opening in A24’s history, more than tripling the studio’s previous benchmark set by Civil War and establishing it as one of the year’s most profitable horror releases.

A 20‑Year‑Old Director Makes History

Parsons, known online for his Backrooms YouTube series under the name Kane Pixels, transitioned from internet creator to feature filmmaker with the A24 adaptation of his viral liminal‑space horror concept.

At just 20 years old, he has become the youngest filmmaker to helm a film that reached number one at the American box office, according to A24’s confirmation to ABC News and corroborating box office data.

Parsons’ path to mainstream success began with self‑taught filmmaking and a series of eerie, found‑footage‑style shorts exploring the Backrooms mythology on YouTube, which cultivated a dedicated online community across age groups and identities, including many LGBTQ+ horror fans.

In media interviews, Parsons has spoken about reaching beyond that original internet audience while still honoring the community that helped popularize his work, signalling a desire to keep existing viewers engaged as the story expands.

Inside the Film’s Story and Appeal

Backrooms centers on Clark, a small‑town furniture store owner played by Chiwetel Ejiofor, whose life unravels after he discovers a glowing doorway in his basement that leads to a labyrinthine extra‑dimensional space.

The movie follows Clark’s descent into the uncanny maze and the subsequent investigation by his therapist Mary, portrayed by Renate Reinsve, who is drawn through the same portal into the surreal environment.

The Backrooms dimension itself is depicted as an endless stretch of yellow‑tinted, fluorescent‑lit rooms and corridors, with sporadic objects and threatening entities that challenge the characters’ grasp on reality.

Reviewers have highlighted the film’s focus on atmosphere, psychological dread, and liminal unease rather than traditional jump scares, a style that has resonated with a broad audience, including many younger viewers who discovered the concept online.

For horror audiences that include LGBTQ+ people who often relate strongly to narratives about displacement and otherworldly spaces, this emphasis on alienation and identity in liminal zones has added thematic depth to the film’s commercial appeal.

Parsons Confirms He’s “Not Done” With Backrooms

Even as Backrooms continues to roll out in additional markets, Parsons has been explicit that the theatrical feature is only one chapter of a larger, ongoing narrative.

Speaking to Variety in an interview referenced by multiple outlets, Parsons said he has “a contract” and “a hold” on his side, adding that he is “definitely not done with Backrooms” and that there are “very specific things” in active development that he is eager to discuss when allowed.

In comments quoted by genre outlets, Parsons framed the first film as “a bit of a foot in the door” toward the “true root of the narrative” that has been cultivated in his online work over several years.

He has stated that sequels have been part of his intention since 2022, describing Backrooms as “the first part of a larger story” and indicating that future installments will explore different layers of the fictional space’s topology and lore.

According to coverage summarizing his recent interviews, Parsons remains committed to continuing the original YouTube series alongside the films, presenting an interconnected franchise that spans platforms and formats.

Sequel Status: Contracted but Unannounced

While A24 has not made a formal public announcement of Backrooms 2 as of early June 2026, multiple outlets report that Parsons is already under contract with the studio to develop a sequel.

Coverage of the director’s comments describes the sequel as in development and officially contracted, with reporting noting that the arrangement was in place by the time the first film’s record‑breaking opening numbers were confirmed.

Parsons has also indicated that he is seeking a screenwriting collaborator for the follow‑up, with early June reports stating that he is actively looking for a partner on the sequel’s script.

Industry analysis suggests that Backrooms’ relatively modest budget and outsized returns make an ongoing franchise financially attractive for A24, with the first film’s global opening weekend estimates widely described as a “record‑breaking” event for the studio.

One feature article characterizes Backrooms as A24’s “big-screen adaptation” of a viral internet phenomenon that has now become the studio’s “biggest opener ever,” positioning it as a likely cornerstone of the company’s horror slate in the coming years.

How the Sequel Might Evolve the Story

Though specific plot details for a sequel remain under wraps, reporting on Parsons’ interviews indicates that he wants to shift away from simply repeating survival‑horror beats in endless yellow rooms.

Instead, he has reportedly outlined a direction that leans further into science‑fiction and existential dread, broadening the perspective beyond a single protagonist trapped in the maze.

Articles summarizing his comments suggest Parsons hopes to explore how government and private entities respond to the discovery of the Backrooms dimension, expanding the focus from individual terror to systemic reactions.

For audiences that include transgender people, queer people, and others historically underrepresented or stereotyped in horror, a shift toward complex world‑building and institutional scrutiny may open space for more layered character dynamics across identities.

Parsons has also been quoted as envisioning a potential three‑to‑five‑film saga that would travel through different “layers” of the Backrooms and introduce new environments and entities, although long‑term plans remain dependent on ongoing performance and studio decisions.

A Cross‑Platform, Ongoing Universe

Backrooms originates from online culture, and Parsons has repeatedly emphasized that the cinematic features will not replace the original web series but instead coexist with it.

Coverage of his remarks notes that he intends to keep expanding the YouTube storyline while the films explore different angles on the same central mystery, effectively turning Backrooms into a multi‑platform universe.

Earlier genre reports, published before the film’s release, had already documented Parsons responding to fan questions by hinting at both a sequel and a possible limited series to “wrap up” parts of the Backrooms narrative, suggesting that the franchise blueprint predates the current box office surge.

As Backrooms continues its theatrical run, including delayed openings in some international territories such as India, this cross‑platform approach may help maintain momentum and foster inclusive fan communities that see their own experiences reflected, at least metaphorically, in stories of people navigating unsettling, in‑between spaces.

While concrete release dates and casting details for future installments remain unannounced, current reporting paints a consistent picture: Parsons holds a contract to continue the series, has actively begun development on a sequel, and views the existing film as the starting point rather than the conclusion of the Backrooms story.