<figure><picture><source media="(max-width: 480px)" data-srcset="https://static0.polygonimages.com/wordpress/wp-content/uploads/2026/05/affection_festival_still_01.webp?q=49&fit=crop&w=600&h=338&dpr=2" srcset="https://static0.polygonimages.com/wordpress/wp-content/uploads/2026/05/affection_festival_still_01.webp?q=49&fit=crop&w=600&h=338&dpr=2"></source>
<source media="(min-width: 481px)" data-srcset="https://static0.polygonimages.com/wordpress/wp-content/uploads/2026/05/affection_festival_still_01.webp?q=70&fit=crop&w=1600&h=900&dpr=1" srcset="https://static0.polygonimages.com/wordpress/wp-content/uploads/2026/05/affection_festival_still_01.webp?q=70&fit=crop&w=1600&h=900&dpr=1"></source>
<img width="1600" height="900" alt="Affection" data-img-url="https://static0.polygonimages.com/wordpress/wp-content/uploads/2026/05/affection_festival_still_01.webp?&fit=crop&w=1600&h=900" src="https://static0.polygonimages.com/wordpress/wp-content/uploads/2026/05/affection_festival_still_01.webp?&fit=crop&w=1600&h=900">
</picture><small class="item-img-caption">Image: Brainstorm Media/Everett Collection</small></figure>
</div><br><div class="content-block-regular">There is a singular thrill in discovering an actor and instantly recognizing that—to borrow a phrase—you will be following their career with great interest. That was my exact reaction to Jessica Rothe in Blumhouse’s manic, time-bending slasher-comedy Happy Death Day. My instincts held up, as the sequel, Happy Death Day 2U, was equally inspired. While a third chapter to complete the trilogy is currently in limbo, just days before I sat down with Rothe over Zoom, she had been dining with series helmer Christopher Landon to strategize their next move.
“We remain incredibly committed to seeing the third one through,” Rothe tells Polygon. “We definitely have a few cards left to play.”
In a business that too often dismisses genre work as a mere stepping stone to “prestige” projects, Rothe’s filmography—including Happy Death Day, Boy Kills World, and the upcoming Imposters—demonstrates that genre cinema is an ideal crucible for performers demanding both deep emotional resonance and intense physical discipline. That duality is stretched to its breaking point in Affection, a sci-fi body horror piece that feels like a distorted, funhouse-mirror evolution of the premise established in Happy Death Day. In Affection, Ellie (Rothe) suffers from a condition that continuously erases her memory, rendering her unable to recognize those closest to her. The film’s tension stems from experiencing this disorientation alongside Ellie—feeling her confusion, her mounting dread, and, ultimately, her visceral disgust.
Polygon sat down with Rothe to discuss the craft behind her physically demanding performance in Affection and why genre storytelling remains her most fertile creative playground.
This conversation has been edited and condensed.
The practical effects in Affection are quite intense. What was that process like on set?
It was a massive undertaking, but that physical rigor was exactly what drew me to the project. It wasn’t just about the seizures; it was about navigating how Ellie experiences her body—and then differentiating that for the various iterations of who she becomes. All of that was anchored by the incredible practical prosthetics designed by [makeup artist] Dan Rebert. Every application session took roughly 90 minutes to two hours.
Dan and I hit it off immediately. He realized I was a Dungeons & Dragons player, and during our second session, he asked, “Do you have any experience with dwarf rock?” I had no idea what he was talking about! [Laughs.] So there we were, at four in the morning, listening to dwarf rock while he spray-painted my face.
Image: Brainstorm Media/Everett Collection
Your character’s convulsions are genuinely haunting. Given your history with physical comedy in the Happy Death Day films, how do you approach these demanding physical performances?
It comes down to pure commitment, shedding the fear of looking foolish, and trusting your collaborators. I have a profound creative partnership with [director] Chris Landon; from day one on Happy Death Day, I felt secure enough to take big swings, knowing he would protect the performance in the edit. I felt that exact same safety with [Affection director] BT Meza.
BT had a very clear vision for how these seizures should manifest. We collaborated on that, and I had my incredible co-star, Joe Cross, to lean on. Horror is such an intense environment—you’re cycling between screaming, crying, and then heading off to catering for lunch. You absolutely need a “decompression buddy” to help you snap out of it.
We discovered unique physical gestures for every version of Ellie.
You have carved out such a distinctive career in genre cinema. What does that space allow you to do that a standard drama might not?
Genre allows you to tackle profound, evocative themes that might be a tougher sell in a more conventional dramatic framework. Happy Death Day, for all its slasher thrills and comedy, is fundamentally about grief, self-discovery, and healing. With Affection, it’s a story rooted in themes of domestic manipulation, but layering that sci-fi horror element over the top creates a different entry point for the audience.
Chris Landon always liked to say, “We’re lacing our popcorn with truths.” That’s the hallmark of the genre films I love. You get the roller-coaster ride, but you walk out of the theater with real things to talk about. Plus, the horror community is just unmatched—they’re creative, passionate, and supportive. I feel privileged to work in this space.
Was there a particular role where you felt this career path really clicked for you?
Tree [in Happy Death Day] was the turning point. I’m a chronic people-pleaser in real life, and playing someone as unapologetic as her was liberating. She’s this tough, guarded shell with a marshmallow center. It taught me how much ground you can cover within a character arc, even in stories that might seem limiting on paper—especially for women in horror. Affection echoes that same spirit, particularly because I get to embody so many variations of Ellie.
I work with an acting coach on Michael Chekhov techniques, which focus on finding a physical gesture that unlocks an internal state. We defined specific movements for each version of Ellie, and that level of precision makes the work so exciting for me.
Given the intense nature of Affection, how do you wind down after a day of filming?
Music is essential—for both powering up and shutting down. We shot in Bovine, New York, in this beautiful, isolated old house—I think it once belonged to one of the cast members from Gilligan’s Island. The setting was stunning, and the nature around us was very grounding.
When I returned home, I’d turn on Parks and Rec. I couldn’t handle any heavy, traumatic content. I needed comfort, lightness, and fluff—just cozy sweaters and blankets.
Image: Brainstorm Media/Everett Collection
Is Parks and Rec a permanent fixture in your rotation?
[Laughs] Absolutely. It’s that, Friends, and, I’ll admit it—sometimes Secret Lives of Mormon Wives. I need content that is either familiar or just mindless enough that I don’t have to engage my brain.My girlfriend is trying to get me to watch Secret Lives of Mormon Wives, but I think I’m holding out for Gilmore Girls.
Honestly? Gilmore Girls is a much healthier choice for your psyche. Secret Lives is a wild ride, but you’ll feel like you need a shower afterward—a total horror story in its own right.
Photo: Universal Pictures
There remains a massive fan base for the Happy Death Day franchise. What’s the status of the third installment?
It’s funny, I actually had dinner with Chris Landon last week. We were chatting about where things stand, and we are both incredibly invested in making a third movie happen.
I’m eight months pregnant, and that new perspective is already influencing how I view the world.
We have a vision for how to proceed, though as always, so much depends on the financing and logistical variables—which, as we know, are constantly shifting. That said, I’m planning to visit Chris, and we definitely have a few tricks tucked away. The beauty of working with Chris is that he has such a clear, specific vision. We’ve had great conversations about how I can help bring Tree’s arc to a satisfying conclusion because we both feel so strongly about this character.
Are there specific themes or directions you’re hoping to explore? Everyone loves a good montage in these films.
We absolutely need a montage! I won’t spoil anything, but I’m currently eight months pregnant, and that reality has opened up so many new experiences for me. It’s shifted how I look at everything. Chris, being a father himself, and I have had some wonderful discussions about that, and it will undoubtedly color the next iteration of Tree’s journey. The wonderful thing about this series is that it can go in any direction. It’s as insane as anything Chris can dream up, and as weird as I’m willing to get [laughs] within that world.
Source: Polygon
