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Hollywood has been waiting for Kane Parsons since the year he was born. The 20-year-old director is the same age as YouTube’s first videos and grew up with no barriers between his creativity and an audience. “Backrooms,” his debut feature, marks the start of a new new wave of filmmakers raised by internet feedback who are ready to reinvigorate the industry.

Young Steven Spielberg screened his 8mm reels for his neighborhood. Parsons uploaded his early shorts online where he could analyze the mass response. When one, an unsettling nine-minute experiment about a warren of dingy carpets, taffy-yellow walls and gridded drop ceilings clicked with 78 million viewers, he made sequels. A24 offered Parsons a deal before he finished high school. He’s graduating into multiplexes having spent his adolescence writing, directing, editing, composing and market-testing what people want to watch. I’d toast to that, but Parsons isn’t old enough for Champagne.

Given that backdrop, “Backrooms” would be one of the year’s most significant releases even if the movie itself was merely fine. But it’s better than fine — it’s a work of honest-to-goodness art. Working with screenwriter Will Soodik, Parsons has gone back into that banal maze to find an uncannily mature story about loss and stagnation, about how our self-serving narratives barricade us from emotional growth.

Set in 1990, “Backrooms” has the fritz of an old VHS tape. (Like so many other Gen Z kids, Parsons is nostalgic for a pre-smartphone era he never knew.) A failed architect-turned-furniture salesman named Clark (Chiwetel Ejiofor, superbly expressive) tumbles through a portal in his store’s basement to the backrooms of the title — less Alice in Wonderland, more Alice in Wonderbland.

“It’s like it was made by a bunch of construction workers on acid,” he muses. The hallways lead to more hallways, the overhead fluorescents whine like hornets. Someone — or something — has piled lamps and stools into the center of one room, scattered chairs in another and embedded shoes into the floor as though the ground were made of sand. The disorder looks like the wreckage of an unknown chaos. Aboveground, Clark is trapped in his own resentments, throwing temper tantrums like a toddler. Down here, frustration feels natural.

Should he be afraid? And if so, then what of?

Distant thuds warn that Clark isn’t alone. Soon after, three other characters follow Clark into this liminal space: his loud employees Bobby and Kat (Finn Bennett and Lukita Maxwell) and his exasperated therapist, Dr. Mary Kline (Renate Reinsve), who is haunted by flashbacks of her agoraphobic mother. There’s also a mysterious man in a lab coat (Mark Duplass) who works for a company that factors into the backrooms’ preexisting internet lore, but doesn’t have much purpose in this script. It’s fine just to see Duplass as a gesture toward corporate apathy. More beings will appear too and cinematographer Jeremy Cox’s deliberately low-fi look forces you to do triple and quadruple takes to comprehend what you’re even seeing.

How does a 20-year-old fathom adult-sized discontent? Lord knows, but Parsons does. One theory is that today’s 20-year-olds were just launching into teenhood when the pandemic teleported them from their classrooms to isolated computer screens. Meanwhile, they overheard their parents fret that society might be forever hollowed out. When a young person looks toward the future, what do they see? Probably not an office building bustling with entry-level jobs.

Think about how the act of buying a couch no longer involves interacting with a salesman like Clark, but peering at a pixelated living room that doesn’t actually exist with a couch that changes colors at a tap. Think about how lately the internet at large feels human-less. Then layer that emptiness over the images here.

Sparse yet gripping, “Backrooms” and its minimalist story accommodate the audience’s own free-ranging imagination. The infinite size of these drab catacombs triggers sense-memories of feeling small and confused in an ordinary place that feels all wrong. It’s a time travel trip back to childhood — mass entertainment made intimate — with Parsons tossing us scraps of Clark and Mary’s personal histories like a breadcrumb trail. I remembered what it felt like to get lost in a motel on a road trip with my grandparents. More recently, I tidied the home of a friend who was in the hospital, the pill bottles and crumpled blankets left in situ as evidence of someone else’s pain. “Backrooms” felt like that, too.

There’s an incredible special effects shot where the camera sinks through the floor of Mary’s living room to find a mutation of the same room — and then another and another — each replica deteriorating further from reality until it becomes a new room altogether that would fit right into the backrooms. This, we wordlessly understand, represents how memories of the past can be at once factually inaccurate and emotionally true. We’ve all been bewildered kids, Parsons more recently than most. Some of the most powerful people on Earth still behave like they’re stuck in that headspace.

Describing “Backrooms” as a horror film doesn’t feel exactly right. It’s a surrealist painting in motion, the equivalent of staring at Salvador Dali’s wasteland of melting clocks until it makes gut-sense. Dali made that famous masterpiece, “The Persistence of Memory,” in 1931, a breath-holding moment between wars when daily life looked normal enough but vibrated with the dread that no, things were definitely not OK. Kids don’t know that, but they vibe with Dali anyway because he keys into their suspicion that the world doesn’t really obey the rules.

That anxiety hums through “Backrooms.” It’s why millions of people watched and shared the original short. Yet as fraught as it sounds — and as abruptly as it ends — I left elated. A major new moviemaking talent has arrived and he’s the beginning of a movement. Other internet-honed young filmmakers will follow with their own fresh insights into genres like action, comedy and romance. Kane Parsons is just the first one through Hollywood’s labyrinth.

JENNIFER Lopez has joined Spotify’s billionaire club for the first time.

Her 2011 dance hit On The Floor, with rapper Pitbull, has now clocked up more than a billion streams.

The US singer, 56, in a celebratory mood at a Netflix comedy event in LA on Sunday night thanked fans online, adding: “Thank you JLovers … On The Floor is one billion strong on Spotify because of you!

“Let’s keep dancing.”

It is the first of J-Lo’s songs to ever achieve the feat, while it becomes Pitbull’s sixth track to make the grade.

However she has a way to go before overhauling Spotify’s most-played track — The Weeknd’s 2020 classic Blinding Lights, on 5.4billion streams.

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Released as the lead single from her seventh album Love?, the song marked a major comeback for the star following a quieter period in her music career.

We recently revealed how the star got down and dirty with her co-star Brett Goldstein in a first look at their brand new movie, Office Romance.

A trailer for the raunchy Netflix rom-com has dropped with J Lo serving up some of her sauciest on-screen scenes to date.

The hotly anticipated flick is due to release next month with Jennifer and her co-star Brett having heaps of passion as a typical work love story blooms.

PLANS for a mega new city centre leisure facility costing £36million have been unveiled.

The first designs include two swimming pools, a cafe, a family play area, health and wellbeing rooms, a fitness suite, and a number of studios.

Peterborough City Council said plans have been finalised after consultation with residents, with further details set to go on public display at a drop-in session on Tuesday, May 19.

A planning application is due to be submitted in July, with construction at the Embankment site set to begin early next year.

The sports hub will then open in 2028, housing the city’s only public indoor swimming pool after Peterborough’s Regional Pool was demolished last year due to structural issues.

It is set to have a 25-metre eight-lane pool, as well as another 20-metre activity pool with a movable floor, among a range of other facilities.

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Members of the public will have an opportunity to talk to the design team at the drop-in session later this month, with further information provided on sustainability, floor plans, timelines, and transport options.

Jamie Fenton, culture, sports and leisure partnership manager at the council, said: “We know that residents are still feeling the loss of the Regional Fitness and Swimming Centre and that is why we are moving as quickly as we can to deliver a new, modern facility for the city.

“We had a fantastic response to the initial engagement activity earlier in the year and we have used what people told us to develop the next phase of planning and designs.”

He added: “It is really exciting to be at a stage where we can show these to people and start having conversations around what a new leisure development will offer our residents.”

According to the council, £20million of the site’s funding has come from the government’s Growth Mission Fund, while £16million has been committed by the authority.

The development is still looking for private funding and grants “to assist with the costs”.

WASHINGTON — A night devoted to celebrating the 1st Amendment and journalism turned into a breaking story of its own.

The attendees at the White House Correspondents’ Assn. dinner Saturday took cover under the tables in the Washington Hilton ballroom when they heard gunshots outside, which led to the evacuation of President Trump and many of his Cabinet officials at the gala.

But instinct kicked in swiftly, and many of the journalists in the crowd of 2,600 people were using their phones to capture video. Uploading pictures to social media was a challenge as the internet coverage in the ballroom was poor, but they would eventually provide a detailed chronicle of the night.

“I reached for my phone as soon as I could and started shooting video to capture as much of the moment as I could,” said Sara Cook, a CBS News producer and press association board member seated on the dais near the president, First Lady Melania Trump and Vice President JD Vance, who were hustled out while a SWAT team swarmed the stage.

“I could hear Secret Service officers saying, ‘Where is it coming from?’” Cook said. “They seemed to be quite confused onstage about exactly what was happening, where the threat was coming from and if there still was a threat.”

Authorities identified the suspect as Cole Tomas Allen, a 31-year-old teacher from Torrance. He was apprehended after rushing a security checkpoint one floor above the ballroom. Law enforcement officials said Allen was armed with a shotgun, a handgun and multiple knives.

After guests were told the evening program would not proceed, many of the TV anchors and correspondents in the crowd headed to their Washington studios. Many didn’t wait. CNN’s Wolf Blitzer, who was returning from a restroom on the floor where the incident occurred, delivered an eyewitness account from the Hilton lobby using a Webex app on a smartphone.

There was at least one fog-of-war moment as well. CNN anchor Kaitlan Collins reported on air that the armed suspect was killed by the Secret Service, attributing it to security for Education Secretary Linda McMahon. She had to correct the report after Fox News said Allen was alive and detained by agents.

“CBS Evening News” anchor Tony Doukopil and CBS News editor-in-chief Bari Weiss walked several blocks from the Hilton to waiting vehicles that took them to the network’s offices and studios on M Street. (Weiss granted a reporter’s request to go behind the scenes to observe the news-gathering operation.)

Matt Gutman, Nancy Cordes, Tony Dokoupil and Bari Weiss at the CBS News Washington bureau on April 25, 2026.

When Doukopil and Weiss arrived at the bureau, CBS News national correspondent Matt Gutman and Nancy Cordes, chief White House correspondent, were already on the air with a special report, showing video shot by its journalists in the ballroom.

Doukopil joined his colleagues, all still dressed in formal wear, and took over the coverage. The newsroom soon filled with executives and producers arriving from the Hilton, several dressed in long gowns and carrying their high-heeled shoes.

CBS News President Tom Cibrowski stood over a large multiview screen, monitoring his network’s broadcast alongside the competition.

When Cibrowski was on the floor of the ballroom when the commotion began, he texted his family to let them know he was OK. He then called David Reiter, the executive producer of special events for CBS News, to alert him that they would be breaking into regular programming on the network, a rarity lately with so many 24-hour news sources available.

Reiter left his seat at a Broadway show and headed to the CBS News studios on the west side of Manhattan to get the feed on the air.

Weiss walked over to the Washington set and consulted with Doukopil, Cordes and Gutman during a break, providing a bipartisan list of government officials and activists who were subjected to politically motivated violence in recent years. She settled in at a workspace to turn out a memo to staff, acknowledging the rapid work of getting its images from inside the ballroom on the air.

“This is what we do,” wrote Weiss, a digital entrepreneur who has dealt with criticism over her lack of experience in TV news since taking on her high-profile role in October. “Most importantly, we are thankful that everyone is safe.”

Later, she led a lengthy meeting to plan further coverage, which included Norah O’Donnell interviewing Trump for Sunday’s edition of “60 Minutes.”

After Doukopil finished his special report, he was off to prepare a segment to air on “CBS Sunday Morning.”

“It’s very strange to go from drinking wine to drinking coffee,” Dokoupil said as he departed the set.

Every journalist in the ballroom left with a story.

Tom Llamas, anchor of “NBC Nightly News,” was seated next to Secretary of State Marco Rubio when Secret Service agents pulled Rubio and his wife away as White House officials were evacuated. Llamas had to alert the agents that another, less high-profile Cabinet member, Energy Secretary Christopher Wright, and his wife were at the table as well.

Llamas made his way from the hotel to the NBC News bureau with “Meet the Press” moderator Kristen Welker and veteran Washington correspondent Andrea Mitchell. The anchor took over the network’s special report and felt compelled to explain his attire.

“NBC Nightly News” anchor Tom Llamas reports on the shooting at the dinner on April 25, 2026.

“It is unusual to come on the air in a tuxedo, but this is a very unusual night,” he told viewers.

Llamas praised the performance of his peers who have seen the image of their profession take a beating in recent years.

“There was a while there, we did not know what was going on,” he said. “For all the crap that is written about our industry, I saw people jump into action immediately, and it was incredible. I was proud of all my colleagues.”

The canceled dinner created a predicament for MS NOW and NBC News, which both planned lavish after-parties late Saturday evening. Many of the big-name on-air talent stars and executives expected to attend were working on the story.

After a half-hour of deliberations, both networks decided their parties would go on. But planned stunts for the MS NOW soiree at DuPont Underground — such as a performance by a university drum line — were scrapped.

NBC’s event at the home of the French ambassador was billed as “The After Party.” A text message told attendees to expect a more subdued affair described as “a gathering for people who wanted to convene, eat and drink and be with community.”

Privately, one network executive explained why the festivities moved forward. “Nobody died,” he said.

JUSTIN Bieber superfan Billie Eilish dramatically dropped to the floor on at Coachella when he brought her out on stage.

At weekend 2 of the desert festival, Billie could be seen crawling up the stage before sitting on a chair in front of her idol, Justin, who she has long been a fan of.

Justin then sang the song One Less Lonely Girl to her midway through his Coachella set.

Billie, who has long been a fan of the Baby singer, looked so emotional as she was serenaded by the star.

On X, fans have reacted to the moment.

One person penned: “THE FACT that it wasn’t planned, literally it was Hailey Bieber herself who pushed Billie Eilish to get on stage and be the OLLG.”

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A second wrote: “No way that Billie Eilish became one less lonely girl in 2026.”

“This is so cute I love how Billie still stays in her fangirl zone around Justin,” said a third.

“Will go down as one of the most iconic Coachella performances ever,” added a fourth.

“She’s such a fan lmao,” penned a fifth.

While a sixth said: “Justin pulling Billie on stage for ‘One Less Lonely Girl’ and holding her like that?? Coachella 2026 just healed my 2015 heart. This is the collab we NEVER knew we needed.”

Billie has long credited Justin as an inspiration, and even grew up as a Belieber.

“He’s amazing. He’s so sweet and, like, I feel – just, honestly, I feel for him, man. He’s been through a lot, dude,” Billie told Ellen DeGeneres previously.

The pair met at Coachella in 2019 and went on to collaborate on the remix to her song Bad Guy.

When the remix came out, Billie shared a photo of her as a teen in her bedroom which had posters of Justin plastered all of the walls.

Alongside the snap, she penned: “BAD GUY FEAT. JUSTIN BIEBER OUT NOWWW OMGFFFFGGG ANYTHING IS POSSIBLE MAN.”

This weekend’s set from Justin marked his second weekend headlining at Coachella this year.

Following his headline set last weekend, the star hosted a blowout bash with wife Hailey and A-list friends.

A source told The U.S. Sun that the party was ultra-exclusive and hosted by Justin’s new fashion brand, Skylrk, which also had a pop-up at the festival.

“Many people were turned down who had previously been invited,” they claimed.

“Promoters also had a lot of girls on their guest lists and I heard Hailey was turning them away.”

Influencer Zach Clayton echoed this by sharing a video on his TikTok showing a guy complaining, “They cut all my guest list off.”

He explained he invited 20 girls and they were all denied, joking that Hailey is a “boss,” and she was likely the reason they were not given access to the private event.