Imagine being so terrified by a movie that it changes how you feel about being alone in your own home. That’s exactly what happened to Madelaine Petsch when she first watched The Strangers as a teenager. In a recent interview with IndieWire, the actress and producer revealed how Bryan Bertino’s 2008 home-invasion thriller left an indelible mark on her—and why its chilling premise still feels eerily plausible today. Ahead of Lionsgate’s The Strangers: Chapter 3 hitting theaters on February 6, Petsch dives into the trilogy’s evolution, her unexpected journey from skeptic to producer, and the bold creative choices that set this franchise apart. But here’s where it gets controversial: Is this trilogy a daring expansion of the original story, or does it risk diluting the very thing that made The Strangers so unforgettable? Let’s unpack.
The 2008 film, inspired by real-life horrors like the Manson murders, tapped into a primal fear: the idea that senseless violence could knock on your door at any moment. ‘It was a real-life thing that could actually happen,’ Petsch explained, recalling the haunting image of three masked strangers at the doorstep. ‘That wouldn’t leave me.’ Bertino’s decision to end the original on a cliffhanger only deepened its impact, leaving audiences—including Petsch—wondering what happened next. ‘I always wondered what happens after [Liv Tyler’s character] opens her eyes,’ she said. ‘I liked that it was open to interpretation.’
Fast forward to 2022, when Petsch was pitched not one, but three interconnected spinoff films. Her initial reaction? Skepticism. ‘Who is trying to remake this incredible film?’ she recalled thinking. But what she discovered wasn’t a remake at all. Developed by producer Courtney Solomon, the trilogy—directed by Renny Harlin—was designed as a single, cohesive arc, re-anchoring the franchise after years of tonal drift. The Strangers: Chapter 1 (2024) deliberately mirrored the visual and narrative style of the 2008 original, a move Petsch described as ‘really daring and quite ballsy.’ But is this homage a stroke of genius, or a safe play? That’s up for debate.
What’s undeniable is the trilogy’s ambition. Shot largely back-to-back, it gave Petsch a rare opportunity to map out her character, Maya, across three films before stepping on set. ‘As an artist, being able to create an arc over three films all at one time is such a blessing,’ she said. The original plan was to release the films in rapid succession, turning Maya’s ordeal into an endurance test for viewers. However, reshoots and logistical challenges stretched the timeline to four years. Still, the experiment held: Maya isn’t just surviving one attack—she’s living with the aftermath of a nightmare that’s haunted pop culture for nearly two decades.
And this is the part most people miss: Maya’s journey blurs the lines between protagonist and antagonist. ‘She becomes no holds barred,’ Petsch noted. ‘Which I find very interesting for this genre.’ This long-form storytelling also highlights the distinction between film and television—a topic Petsch, known for Riverdale, is passionate about. ‘The only similarity is that you’re acting in both,’ she said, arguing that film allows performers to layer intention over time. But does this trilogy truly elevate the genre, or does it fall into the trap of over-explaining its mysteries?
Petsch’s involvement went beyond acting. She collaborated daily on rewrites, shot lists, and casting, eventually stepping into a producer role. ‘It wasn’t transactional,’ she stressed. ‘I was lucky enough to work with somebody who saw my ability and wanted to give me a seat at the table.’ For her, horror remains the genre that rewards trust and risk-taking. ‘The most interesting characters kind of live in this genre,’ she said. But as the trilogy concludes, one question lingers: Is this truly the end for The Strangers? Petsch doubts it. ‘These characters are innately creepy. I wouldn’t be surprised if somebody else got inspired and wanted to make it again.’
As The Strangers: Chapter 3 prepares to hit theaters, the debate remains: Does this trilogy honor the original’s legacy, or does it risk oversaturating its impact? What do you think? Is this a bold reinvention, or a missed opportunity? Let’s hear your thoughts in the comments—and catch the film in theaters February 6.
