David Krumholtz is clarifying where he stands in his career after announcing he was taking an “indefinite break” from acting.

The Supergirl and Oppenheimer actor took to social media to explain what led to the decision.

“Firstly, I am very well. And I feel very loved,” he shared in an Instagram post. “Secondly, I never used the word ‘retiring’ or ‘quitting.’ Instead, I said that I decided to put my career on hold.”

He continued, “I don’t expect anyone to understand, but the outpouring of support for my decision has been deeply heartwarming. I am wildly grateful, as more than one of my biggest dreams have come true as a result of being an actor. Grateful to all who support and believe in me.”

Krumholtz said he is in a moment “where the weight of those dreams and ambitions has become surprisingly oppressive,” adding, “That’s a me problem, not a Hollywood as a whole problem. There are no rules that guarantee success, but I know this: an amazing career in this business consists of a small handful of triumphs, but not without a mountain of disappointments. I love my mountain of disappointments, I do, but I’m human and my mountain is starting to sting more than it used to.”

“Need time to figure that out, let it heal,” he added. “My mental health is vital to my family. My career has run the gamut. I’m in disbelief. But I find myself at a crossroads between the inherent self involvement being a professional actor requires, and a burning desire to give more of myself to others in need, in whatever way I can. And so, for the time being, I’m pursuing that goal. There’s still more work to come. Stuff to be seen. And as always, I really hope you enjoy what I’ve put out there. Just,… gimme a sec.”

Krumholtz previously took to Threads to say he was “frustrated, fed up, [and] fried,” posting that he had decided to put his acting career on hold.

“I kinda sorta put my acting career on hold the other day. It’s been something I’ve been petrified to do for years,” Krumholtz said in a now-deleted post on Threads. “Specifically, the fear was that I’d go broke and not be able to handle being out of the game. But I sent the definitive email.”

Read Krumholtz’s Instagram post below.

The good news about Insidious: Out of the Further, the sixth entry in the hit horror film franchise created by Leigh Whannell and James Wan, is that it deals with a new set of victims. After all, we can all agree that the poor Lambert family has been through enough in the previous installments.

The bad news about the new Insidious movie is that, well, it’s still an Insidious movie. Which means that we have to sit through the spectacle of some unlucky individuals dealing with the Further, that purgatorial netherworld inhabited by demons and the dead that forms the basic mythology of the series.

It’s never a good sign when a horror film stops dead in its tracks to explain things to a main character and, by extension, the audience. But that’s exactly what happens here when the central character Gemma (Amelia Eve, The Haunting of Bly Manor), a single mother with a young daughter, visits Clare (Maisie Richardson-Sellers), a tattoo artist and part-time medium. Clare conjures up the spirit of now-deceased recurring character Elise Rainier (series mainstay Lin Shaye) to explain exactly what the hell is going on with Clare’s mysterious encounters with three ghostly-looking alta kockers who show up at the most inopportune times. By the time the lengthy scene is over, you’ll wish you had been taking notes.

It turns out that Gemma, whose mother died under horrific circumstances when she was a little girl (an incident harrowingly depicted in the opening sequence), is not only someone who has the ability to enter the Further, which is bad enough, but also a “Courier,” meaning that she can transport things from there to the physical world. It’s a rare talent that greatly interests Cyrus (Sam Spruell), a cult-leader entity who very much wants to escape his confines. To that end, he enlists the services of the aforementioned elderly trio, his Acolytes, to move in next door to Gemma and move things along.   

Director-screenwriter Jacob Chase, who has experience with this sort of material thanks to his 2020 horror film Come Play, establishes tension in the opening moments and steadily ratchets it up from there. He certainly knows his way around jump scares, both of the cheap variety (cue the sudden loud noises!) and the more thoughtful kind. His skills are evident in the film’s two most effective sequences — the first involving Gemma venturing into a pillow fort constructed by her daughter Maya (Island Austin, very convincing at looking utterly terrified) that turns into an endless labyrinth featuring demons at every corner.

In the second, Gemma, a dentist by trade, attends to an elderly patient, one of the Acolytes, who clearly has not been paying attention to oral hygiene. The ensuing encounter, probably the most gruesome cinematic dental scene since Marathon Man, will scare you into scheduling a deep cleaning post-haste.  

Otherwise, Insidious: Out of the Further proves routine in its elaborate plot machinations that remind you how tiresome a place the Further can be. There are plenty of Easter egg references to the previous films, including the reappearance of numerous demonic entities and the Red Door that serves as an entranceway to the Further’s various portals.

The most notable carryover, of course, is Shaye’s now iconic character of psychic paranormal investigator Elise, who didn’t let her death in the original 2011 film deter her from appearing in all the follow-ups. She pops up here again to guide Gemma through her travails, carrying a lantern like an otherworld Diogenes and clearly taking no crap from a spectral punk like Cyrus. When Gemma thanks her after being rescued at one point, Elise casually responds, “It’s what I do.”

After a while the film’s sustained creepiness gives way to self-parody, with all the grotesquely made-up performers portraying the demonic figures starting to look like exhausted Comic-Con attendees after a very long weekend. It all mainly serves to indicate that this is a series that has long reached the point of steadily diminishing returns.  

EXCLUSIVE: Anna Camp (True Blood, Pitch Perfect), Jasmine Cephas Jones (Hamilton, Blindspotting), Finn Jones (Marvel’s Iron Fist, Game of Thrones) and Martin Marquez (Billy Elliot The Musical, Hotel Babylon) are set to lead the cast of Olivier-nominated 2:22 — A Ghost Story in its New York premiere.

Produced by Tony and Olivier Award-winning Runaway Entertainment (Girl From The North Country, The Hunger Games: On Stage), previews begin Tuesday, October 20 at the Lucille Lortel Theatre. Opening is Thursday, November 5 for a strictly limited engagement of 13 weeks only, through Sunday, January 17, 2027. 

Camp will play Lauren, Cephas Jones will portray Jenny, Jones is Sam and Marquez will play Ben.

“I am so incredibly thrilled to return to taking on the complex and wonderfully written character of Lauren in the hauntingly beautiful play, 2:22, said Camp in a statement to Deadline. “Getting the chance to revisit this story and to discover so many new things with such a talented cast at the iconic Lucille Lortel theatre this fall is such an honor. I’m beyond excited to dive back in to this world in particular and to return to the New York stage, and to my first love, the theatre.”

Following its premiere in London’s West End in 2021, 2:22 — A Ghost Story heads to off-Broadway following seven West End engagements, two record-breaking UK tours, and more than 30 productions worldwide.

Written by Danny Robbins (The Battersea Poltergeist podcast), in 2:22 — A Ghost Story, Jenny (Cephas Jones) believes her new home is haunted, but her husband Sam (Jones) isn’t having any of it. When their friends Lauren (Camp) and Ben (Marquez) come around for a housewarming dinner, a stirring debate ensues – can the dead really walk again? Belief and skepticism clash, but lingering beneath the argument is something strange and frightening…and that something is getting closer. So they’re going to stay up… until 2:22… and dare to discover the truth. 

During its first West End engagement at the Noël Coward Theatre, the production broke all box office records for a new play at the venue. Starring Lily Allen, Julia Chan, Hadley Fraser and Jake Wood, the production received an Olivier Award nomination and won the WhatsOnStage Award for Best Play. The production subsequently transferred to the Gielgud Theatre, Criterion Theatre, Lyric Theatre, and Apollo Theatre, and featured actors including Tom Felton, Sophia Bush, Cheryl, Matt Willis, Stephanie Beatriz, Mandip Gill, Laura Whitmore  and Stacey Dooley.  

Matthew Dunster (Hangmen, The Hunger Games: On Stage) and Gabriel Vega Weissman (Guards at the Taj) direct.

Set design is by Anna Fleischle (Hangmen; Home, I’m Darling), costume design by Cindy Lin (Winter Wonderland, Dismantle This Room), lighting design by Lucy Carter (Home, I’m Darling; The Almighty Sometimes), sound design by Ian Dickinson for Autograph Sound (Company, Hangmen), and illusions by Chris Fisher (Stranger Things: The First Shadow, Harry Potter & The Cursed Child). Casting is by Caparelliotis Casting (David Caparelliotis & Joe Gery), and Wagner Johnson Productions will serve as General Manager.  
 
2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon, by Special Arrangement with the Lucille Lortel Theatre.