Age: 60
male
Kyle Martin Chandler (born September 17, 1965) is an American actor. He received critical acclaim for his performance as Eric Taylor in the NBC series Friday Night Lights(2006–2011), winning the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series in 2011. Making his screen acting debut in the 1988 television film Quiet Victory: The Charlie Wedemeyer Story, Chandler's first regular television role was in the ABC drama Homefront (1991–1993). This was followed by the lead role of Gary Hobson in the series Early Edition (1996–2000). His well-received guest appearance on the medical drama Grey's Anatomy (2006–2007) earned Chandler his first Primetime Emmy Award nomination. Chandler's film work has included notable supporting roles in King Kong (2005), The Day the Earth Stood Still (2008), Super 8 (2011), Argo, Zero Dark Thirty (both 2012), The Wolf of Wall Street (2013), Carol (2015), Manchester by the Sea (2016), Game Night and First Man (both 2018), Godzilla: King of the Monsters (2019), Godzilla vs. Kong (2021). Chandler has also starred in the Netflix thriller series Bloodline (2015–2017), for which he received further Primetime Emmy Award nominations.
Set in the quiet Midwestern town of Ravenwood, Illinois, DAD ATE MOM! follows Ethan Harper, a weary but devoted factory worker and father of three, whose seemingly normal suburban life begins to unravel after his young children start saying things no child should know. Their calm, unsettling statements—about death, mirrors, and things hiding beneath beds—are dismissed as imagination at first, until Ethan’s wife Mary mysteriously vanishes without a trace. As neighbors begin to disappear and the police fail to act, Ethan uncovers disturbing clues hidden inside his own home: childlike drawings, ritualistic patterns, and signs suggesting that something is spreading from family to family. What begins as a psychological mystery escalates into a brutal suburban slasher, where children watch silently from the background and violence feels disturbingly domestic. The film builds toward a chilling revelation—this is not one broken household, but a chain—and ends with a haunting question: what if children aren’t imagining anything at all?
