Age: 23
male
Jaeden Martell (né Lieberher; born January 4, 2003) is an American actor. He began his career as a child actor, with roles in the comedy drama St. Vincent (2014) and science fiction film Midnight Special (2016). His performance in St. Vincent earned him a nomination for the Critics' Choice Movie Award for Best Young Performer. After playing the title character in the drama The Book of Henry (2017), Martell's breakthrough came with his portrayal of Bill Denbrough in the supernatural horror films It (2017) and It Chapter Two (2019). This led to further leading roles in horror films, such as The Lodge (2019) and Mr. Harrigan's Phone (2022). Martell had a supporting role in Rian Johnson's mystery comedy Knives Out (2019). Venturing into projects with more mature themes, he played a reserved teenager accused of murder in the Apple TV+ miniseries Defending Jacob (2020). He has since starred in the comedy films Metal Lords (2022) and Y2K (2024). Description above from the Wikipedia article Jaeden Martell licensed under CC-BY-SA, full list of contributors on Wikipedia.
Jaeden Martell
Neighborhood Teen #1
for Neighborhood Teen #1 in DAD ATE MOM!
Suggested by roma_007
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?
