Backrooms opening weekend
The Backrooms horror movie grossed $118 million globally in its opening weekend, an extraordinary result for a low-budget film.
Snapshot · The Tim Dillon Show
498 - Backrooms, Spencer Pratt, & The D’Amelio Family Disaster
Explore episode
Jun 6, 2026
Where this was said
Intro & The Backrooms Delusion
At 0:30 · chapter starts 0:00
Tim Dillon kicks off the episode by announcing he 'directed Backrooms' before pivoting to a dissection of what the film's extraordinary box office success actually means. The Backrooms pulled $118 million globally in its opening weekend, while the similarly micro-budget Obsession surpassed $166 million worldwide on less than a million dollars. Tim's argument is counterintuitive: these successes are proof of rarity, not a new trend. The very fact that they're major stories proves how unlikely they are. He reserves special contempt for the middle-aged callers — 'zeros' who've somehow gotten his number — who now believe Hollywood has changed forever and their screenplay is next. The tone is established: Tim is a prophet of productive nihilism, and the episode will apply that logic to politics, law enforcement, family dynamics, and global geopolitics.
Backrooms Made $118M and It Means Nothing
The Backrooms horror movie grossed $118 million globally on a tiny budget, and people are losing their minds thinking it applies to them. Tim delivers the real message: these are lovable flukes, and the middle-aged drug addict calling you about their screenplay is not the next Jordan Peele.
Obsession global gross
The low-budget film Obsession surpassed $166 million worldwide on a budget of roughly $750,000 to $1 million.
LA mayoral race standings
At the time of recording, Karen Bass led the LA mayoral race at 35%, Spencer Pratt was at 29.4%, and Nithya Raman at 23.4%.
Nothing Is Happening — And That's the Good News
Spencer Pratt is polling at 29% in the LA mayoral race and people are calling it a revolution. Tim says stop. Karen Bass wins. Nithya Raman's votes go to Bass. Nothing is changing. The message is a perverse gift: stop looking for grand narratives in everything.
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