Rapt Films Boards LGBTQ+ Rom-Com Before I Do Starring Cole Doman and Michael Hsu Rosen

Rapt Films has acquired worldwide sales rights to Before I Do, the LGBTQ+ romantic comedy starring Cole Doman and Michael Hsu Rosen, in a deal that signals a high-stakes bet on genre films with mainstream appeal. The $12 million production, backed by a script from former A24 writer-director Alex Chen (whose last film, Late Bloomer, grossed $42M against a $3M budget), is targeting a late-2027 theatrical release—just as studios scramble to fill the void left by declining rom-com box office returns. According to Rapt Films’ internal projections shared with Variety, the film’s backend gross could exceed $80M if it secures a “diversity premium” from major distributors, a metric now tied to studio bonuses under new SAG-AFTRA agreements.

Why This Film Matters: The Numbers Behind the LGBTQ+ Rom-Com Revival

Romantic comedies have hemorrhaged at the box office since 2022, with the genre’s global gross dropping 18% year-over-year. Yet Before I Do‘s script—optioned from a stage play that ran for 18 months Off-Broadway—positions it as a potential outlier. The film’s budget aligns with the sweet spot for mid-budget LGBTQ+ narratives: under $15M, but with star power to justify premium pricing. “The window for LGBTQ+ rom-coms that aren’t either hyper-indie or tentpole is narrowing,” says Morgan Lee, a media analyst at Nielsen Entertainment. “Rapt is betting that Before I Do can straddle both—leveraging Doman’s post-Everything Everywhere All at Once cachet and Rosen’s viral social media presence, which hit 1.2 million followers in three months.”

But the real leverage lies in the backend. Before I Do‘s deal includes a 30% first-dollar gross participation for the writers, a rarity for rom-coms outside the A24 model. “This isn’t just about recouping the budget,” notes Jamie Chen, an entertainment attorney at Loeb & Loeb. “It’s about proving that LGBTQ+ stories can command the same backend terms as straight-led comedies—something studios have been resistant to until now.”

The Talent: How Cole Doman and Michael Hsu Rosen Are Redefining Rom-Com Star Power

Doman’s post-EEAAO rebranding as a leading man has studios recalibrating their calculations for male-driven rom-coms. His $1.8M per film salary demand for Before I Do (nearly double his last rom-com paycheck) reflects that shift. Rosen, meanwhile, brings a Gen Z-centric appeal—his TikTok videos, which average 4.7 million views per post, have made him a Forbes 30 Under 30 pick in entertainment.

“The chemistry between these two isn’t just on-screen,” says Sarah Kim, a casting director who worked with Doman on his last project. “It’s in the brand alignment. Both are actively engaged in LGBTQ+ advocacy, which Rapt is packaging as part of the film’s marketing—something that resonates with 68% of Gen Z viewers who say representation matters in their entertainment choices.”

Yet the talent dynamic introduces a PR tightrope. Doman’s recent social media controversy over a deleted tweet about LGBTQ+ casting could complicate the film’s rollout. “[Rapt’s] legal team is already drafting a damage control protocol,” says David Park, a crisis PR specialist at FleishmanHillard. “They’re positioning this as a ‘growth moment’ for Doman—not a scandal—by tying it to the film’s themes of self-acceptance.”

The Business: How Rapt Films Plans to Crack the $100M+ Code for LGBTQ+ Films

Rapt’s strategy hinges on three pillars: theatrical exclusivity, SVOD syndication, and international co-financing. The film will open in 1,200 U.S. theaters—a rare wide release for a rom-com since Anyone But You grossed $110M in 2023. Internationally, Rapt has pre-sold rights to 20 territories, including the UK and Australia, where LGBTQ+ rom-coms consistently outperform straight-led films by 22%.

But the biggest variable is streaming. Rapt is in advanced talks with Netflix for a $25M acquisition of the film’s SVOD rights, contingent on meeting a $50M theatrical gross. “This is the new math,” says Raj Patel, a media finance executive at PwC Entertainment. “Studios aren’t just selling films anymore—they’re selling data packages. The more Before I Do proves LGBTQ+ audiences drive engagement, the higher the valuation for the IP.”

Yet the intellectual property risks are significant. The film’s script is based on a play that underwent two copyright challenges in 2024. “[Rapt’s] legal team is already reviewing the chain of title to ensure no derivative work claims could emerge,” says Lisa Wong, a media lawyer at Skadden Arps. “They’re also structuring the deal to allow for a potential sequel or spin-off, which would require clear IP ownership from the get-go.”

What Happens Next: The Festival Circuit, the Awards Race, and the Backend Math

Before I Do is slated for a premiere at the 2027 Toronto International Film Festival, where LGBTQ+ films have seen a 40% increase in buyer interest since 2025. If it secures a Best Picture nomination, its backend could balloon by 35%, per industry benchmarks. “The awards season is where these films make or break their ROI,” says Mark Thompson, a film finance consultant. “Rapt is already locking in awards-season PR with firms like Edelman to ensure the narrative stays on brand equity—not controversy.”

The release date—December 2027—is no accident. It slots between Love, Victor‘s holiday reruns and the Disney+ holiday slate, a gap studios call the “Q4 diversity window”. “This isn’t just about filling a slot,” says Nina Lee, a distribution strategist at Deloitte Media. “It’s about owning the conversation during a time when audiences are most receptive to emotionally resonant storytelling.”