Category: Press

Press/Photos: Madeline for Cosmopolitian

Press/Photos: Madeline for Cosmopolitian

Don’t Underestimate Madeline Brewer—She Plays the Underdog but She *Always* Wins

Madeline Brewer is really, really afraid of dogs. So afraid of them, in fact, that she will hardly even go near one when it’s in her general vicinity. With that in mind, we went ahead and hired an Irish wolfhound named Roland to pose alongside her in our Cosmo photo shoot. Roland is a good boy and also the size of a show pony.

In our defense, she did agree to it ahead of time, so when I ask her about it later, why she agreed to shoot with Roland if she’s actually terrified of dogs, the Handmaid’s Tale actress says she wants to get a puppy of her own in the future, and she thought shooting with Roland would be a way to “face her fears.” All 177 pounds of them.

But risk taking almost seems like Madeline’s kink. That’s why she frequently plays the kinds of characters who probably shouldn’t be watched with the whole fam.

She played Tricia, a blonde—with cornrows—drug-addicted prisoner living in Litchfield Penitentiary in Orange Is the New Black. She took on the role of Alice, a cam girl whose identity was stolen, in Cam. And she just finished filming her role as Dawn, a stripper, in Hustlers alongside Jennifer Lopez, Constance Wu, and Cardi B. But you might know her best as Janine on Handmaid’s, the surprisingly honest handmaid who somehow manages to come out of rape, forced manual labor, losing an eye, and giving up a child with a sunny-side-up outlook on Gilead.

In season 3, the rage that’s been simmering inside the women of Gilead for the past 23 episodes has officially hit max capacity, and they’re ready to unleash it on their captors. There’s a pivotal moment in the fourth episode whern Janine tells her former family, the Putnams, that she wants to return to their home to be their Handmaid again. “I just want to be with my daughter,” she says, near tears.

Aunt Lydia (Ann Dowd) promptly loses it, beating Janine with her cane while every leader in Gilead watches and does nothing. June (Elisabeth Moss) finally has to intervene and throw herself on top of Janine to get Aunt Lydia to stop. It’s a moment that’s incredibly hard to watch, and the cast knows it. “We ask a lot of our viewers and the fans of the show. Sometimes it feels traumatizing, but we ask you to stick it out,” Madeline says.

That emotional turn for Aunt Lydia isn’t actually all that surprising. You see these flashes of the women behind the politics throughout the entire show. “These women, you never take away what makes them human and what makes them the women they are,” Madeline says, reflecting on this season. “You just put them in different clothes and in different circumstances.”

She’s not crazy, Madeline clarifies. She’s a battered woman who is suffering with PTSD, all from the life she’s been forced to lead and try to survive. “She’s been through so much at this point that she’s willing to say what she wants to say and just lean into what she’s feeling.” You know, like telling someone you want to sleep with her husband again so you can all be some twisted Gilead version of family. A bold move. By the end of the season, the resistance will be in full effect, but it might look different than you expect it to. “Resistance doesn’t just look like a protest or a march,” Madeline cautions, and she promises “there’s light at the end of the tunnel.”

Madeline hopes fans of the show will start to see Janine in a 3.0 kind of way. Up until now, she’s been the de facto little sister of the Handmaid crew.
“I think they’ll feel less like, Oh, Janine…we’re so proud of her. Aw, she’s doing so well, and we just want to give her a hug,” she says. “I hope they’ll feel like she is an actual member of this resistance and of this fight. I hope they’re rooting for her not just because they pity her but also because they believe in her.”

In some respects, her role on Handmaid’s has absolutely nothing in common with her role in Hustlers. The movie is based on a viral New York Magazine article about a group of New York City strippers who ban together to con a bunch of Wall Street frat-bro clients out of hundreds of thousands of dollars.

Madeline plays Dawn, a stripper who joins the con and works under Ramona (Jennifer) and Destiny (Constance). Madeline describes Dawn as the complete opposite of Ramona.

While the ringleaders are busy securing the bag and wearing mink, Dawn is out here wearing a coat that “looks like I bought it at a garage sale,” Madeline says, adding that “everyone looks so different than they normally look,” mentioning Lili Reinhart in particular, who wears bandage dresses and a poof in her hair that looks straight out of the early 2000s. Cardi, by the way, only shot for one day because of her insane schedule.

Ramona and Destiny have rules for all the girls in the group—no drugs and no drinking—because they want to avoid “sloppy mistakes” and incidents that might get them into trouble. But it doesn’t matter, because Dawn is the one who ends up narcing on the whole operation.
Sure, she’s not a Handmaid who’s being routinely assaulted for the “greater good,” but Dawn is another example of a woman who’s making the best of terrible circumstances. The Handmaids of Gilead and the strippers of Hustlers are all just trying to “take matters into their own hands,” Madeline says.

But weirdly, Hustlers is a comedy, despite the fact that the women get all this money by literally drugging their clients and running up their credit-card charges. It was Madeline’s first time in that type of role, and she even got to do some improv, which is one of the hardest acting skills to master (despite seeming so easy). Madeline was nervous to do the movie, in part because of the “badass” actresses she was working with.

On her first day, she had to shoot the scene where she’s wearing a wire in order to implicate Ramona and Destiny in their crimes. Not only was it crazy-important, but she had also been shooting Handmaid’s the literal day before, where the headspace was totally different. She jokingly said she felt like she didn’t even know where she was.

“I was, like, visibly shaking,” she remembers. “J.Lo, at one point, just grabbed my hand. She’s like, ‘You’re doing great.’ It was really, really nice.” From what Madeline says, working with J.Lo is about as amazing as you’d imagine. First, Madeline confirms that she’s the most beautiful person she’s ever seen up close, and for someone who’s been listening to her music since the sixth grade, it was a huge deal to share scenes with such an icon.

“I mean, J.Lo’s a bad bitch, honestly,” Madeline says. “She is so talented and so hard-working.”

Considering three of her past jobs have been Hustlers, Handmaid’s, and OITNB, it’s safe to say Madeline’s worked with a lot of women. Like, a lot. But she also found a boyfriend somewhere in between Litchfield and Gilead. She and Spencer Neville, a fellow actor, met on the set of The Deleted in 2016.

When she talks about him, she’s refreshingly funny for a girl who’s low-key gushing about someone she’s “madly in love with.” At first, she didn’t pay attention to him because he was “too beautiful” for her. (Reader, I can tell you, no guy is too beautiful for Madeline—even Spencer, who is objectively VERY beautiful.)

They were playing boyfriend and girlfriend on the show, so he asked her to get breakfast one morning to “talk about their characters,” she tells me with an eye roll. We all know that move. At some point after that, there was a drunken moment on a beach, and Madeline kissed him for the first time. Now they post pictures of each other on Instagram eating fully loaded veggie dogs at Dodgers games.

Things weren’t always Instagram-level perfect though. They were broken up for most of 2018 because she thought she was too young (she was 26 at the time) to be with the person she’d be with for maybe the rest of her life. In a total flex, she went on a date with none other than a pre–Priyanka Chopra Nick Jonas.

They met at the Golden Globes, and their eventual date was “fun.” “He’s a nice guy. We went out and talked. It was fun,” she says. “He’s a sweet person.” So, what do you talk about when you’re on a date with Nick Jonas? “He’s a creative guy. Like, we talked about creative stuff. It was really cool, but it was…yeah,” she trails off, keeping things vague. Ultimately, that date made getting back together with Spencer tricky.

“We both dated other people, and I obviously went on a date with someone very publicly,” she says. “Spencer’s friends were like, ‘Hey, is your ex-girlfriend dating Nick Jonas now?’ and he was like, ‘What the fuck, Maddie?’”

Thankfully, they were able to work it out, and now she’s back to referring to him as her “angel dove” in a way that would drive you nuts if it were anyone but her. That breakup was part of what made 2018 an “old bitch” (her words, not mine). She tends to be an anxious person, and she says she spent a lot of days just trying to find her own level ground. So she worked on it, and that work has made this year “beautiful” so far.

“Life is short, but it’s also meant to be enjoyed,” she says she realized. “Instead of just constantly pushing, pushing, pushing and moving toward the next thing, the next job, the next event, the next meeting, the next audition…it’s meant to be enjoyed, you’re meant to experience it.”

If there’s anything we’ve learned from Tricia, Janine, and now Madeline, it’s to stop and enjoy life. Because clearly, it could be worse.

In 2019, that attitude kinda feels like fearlessness too.

Press/Photos: Magazine Scans, Photo Sessions, The Handmaid’s Tale and Hustlers

I’ve added a bunch of photos to the gallery including missing magazine scans, photo sessions, on the set photos from Hustlers, and screencaps from the new episodes of The Handmaid’s Tale. This should get the photo gallery totally up to date for now. Enjoy!

Press/Photos/Videos: Recent Public Appearances + Interviews

Press/Photos/Videos: Recent Public Appearances

First of all, sorry for the lack of updates! It has been a crazy couple of months and I haven’t had computer access for a few weeks. I’ve added photos to all of her recent public appearances as well as her recent interviews. Enjoy all the pretties!

Press: Madeline Brewer & Frank Whaley Join Jennifer Lopez STX Strippers Pic ‘Hustlers’

The Handmaid’s Tale actress Madeline Brewer and Swimming with the Sharks star Frank Whaley have boarded STX’s Hustlers, joining a huge cast that includes Jennifer Lopez, Constance Wu, Cardi B, Lili Reinhart, Keke Palmer, Julia Stiles , Oscar-winner Mercedes Ruehl, Trace Lysette and Mette Towley.

Writer-director Lorene Scafaria’s (The Meddler) movie, inspired by a 2016 New York Magazine article, follows a crew of savvy former strip club employees who band together to turn the tables on their Wall Street clients. Brewer will play Dawn, an exotic dancer who is part of the crew of savvy former strip club employees. Whaley’s role is being kept wraps.

Brewer recently starred in Focus Features/Participant/DreamWorks’ Captive State and also stars in Blumhouse’s Cam for Netflix. Her previous credits also include Netflix’s Orange Is the New Black and Black Mirror. She’ll next star in Seperation opposite Rupert Friend, as well as Now Is Everything opposite Anthony Hopkins. Brewer is repped by CAA, Inphenate, and attorneys at Schreck, Rose, Dapello.

Whaley is currently recurring on Interrogation for CBS All Access, and is well known for such pics as Pulp Fiction, Field of Dreams, Swimming with Sharks, and Born on the Fourth of July. Whaley portrayed Agent Van Miller on Showtime’s Ray Donovan. He also starred opposite Richard Dreyfuss in ABC miniseries Madoff and played Detective Rafael Scarfe in Marvel’s Luke Cage on Netflix. Whaley can next be seen in the Blumhouse anthology series Into the Dark on Hulu. He is repped by Abrams Artists and Karen Forman Management.

Press: ‘The Handmaid’s Tale’ Gets June Return On Hulu, Out Of 2019 Emmys Contention

The Handmaid’s Tale is set to return for season three on Wednesday, June 5, with three new episodes, and subsequent shows released every Wednesday, Hulu announced at TCA today.

That means that the Emmy-winning series will not be eligible for the 2019 Primetime Awards.

“We wanted to give the show as much time as possible to maintain the quality,” Hulu SVP of Originals Craig Erwich said at TCA about the decision to delay Handmaid’s Season 3 premiere. He added that he has seen the first two episodes of the upcoming season, and they are “spectacular”.

The 13-episode third season of the drama series will follow June’s resistance to the dystopian regime of Gilead and her struggle to strike back against overwhelming odds.

Viewers can expect to see startling reunions, betrayals, and a journey to the terrifying heart of Gilead that will force all characters to take a stand, guided by one defiant prayer: “Blessed be the fight.”

A new teaser trailer for Season 3 debuted during Super Bowl LIII, and painted a bleak, fire-filled picture of Gilead. The trailer was similar in tone to Ronald Reagan’s jarring 1984 “It’s Morning in America” presidential campaign ad.

The Handmaid’s Tale comes to Hulu from MGM Television and is created, executive produced and written by Bruce Miller.

Warren Littlefield, Elisabeth Moss, Daniel Wilson, Fran Sears, Ilene Chaiken, Eric Tuchman and Mike Barker also serve as executive producers. MGM is the international distributor for the series.

The Handmaid’s Tale stars Elisabeth Moss, Joseph Fiennes, Yvonne Strahovski, Alexis Bledel, Madeline Brewer, Ann Dowd, O-T Fagbenle, Max Minghella, Samira Wiley and Bradley Whitford.

Press/Photos: Madeline featured in 1883 Magazine

Press/Photos: 1883 Magazine

Madeline is featured in the new prime issue of 1883 Magazine. You can buy the magazine in their online shop. I hope to acquire my own issue in the near future. Until then, check out photos from the spread. Soooo pretty!

Press/Photos: Cam’s Madeline Brewer on Curating Her Identity on Instagram and “Playing the Game” of Hollywood

Press/Photos: Cam’s Madeline Brewer on Curating Her Identity on Instagram and “Playing the Game” of Hollywood

Having your identity stolen or being locked out of your social media accounts is a very real possibility in 2018. Cam, a new psychological thriller starring Madeline Brewer, shows just how dark that experience can be.

In the film, Brewer plays a 20-something girl named Alice who lives a double life as a cam girl, performing sexualized acts via webcam for money from anonymous sources on the other side of the screen. Online, she goes by the name of Lola, filming herself in her plush pink bedroom, and having full conversations with her “fans” on the cam girl service. The more money she earns, the more popular she becomes, and the higher up she climbs in the ranks of popular cam girls men pay to watch. But one day, Alice notices something off—her account has been not only hacked into, but a doppelgänger has taken her place. Alice’s identity has been stolen, and so have her “points” and the money she has earned from performing as Lola online.

Cam is the combined effort of Netflix and the horror production studio Blumhouse (which is responsible for the distribution of a string of high-impact, low-budget thrillers like Get Out, Happy Death Day, and Game Night). Directed by Daniel Goldhaber and written by Isa Mazzei, the psychological thriller draws from some of Mazzei’s prior experience as a cam girl, but its themes of identity theft, techno-paranoia, and invasion of privacy are universal. Brewer, who has starred in a handful of critical television series, with roles on Black Mirror, The Handmaid’s Tale, and the upcoming Captive State, spoke to W about both the drawbacks and positive aspects of social media, and how she keeps her own identity in check despite being addicted to her phone like the rest of us.

Between your performances on Black Mirror, The Handmaid’s Tale, and now Cam, I have to ask, what draws you to roles that live at the intersection of technology and terror?
We live in such an online age now, and there’s really no going back from that. I’ve always enjoyed stories about the supernatural, and with horror elements. I’ve always found them to be enjoyable and entertaining, but they also make you think, and I really enjoy being a part of projects that when you leave the theater or when you finish an episode, you don’t move on to the next one, you sit with it for a second because it forces you to take a look at something in a way that you maybe haven’t quite yet. I was madly in love with Black Mirror long before I was on the show. I’d thought to myself while watching, If they ever opened this up to American actors, I have to be a part of this! Cam takes something that is so universal—everyone is online, there isn’t a person nowadays who doesn’t represent themselves online in one way or another. That idea of being locked out of an account, or to feel that you’ve lost control on this thing that is the Internet, that truly we all use but I don’t think anybody really understands, we all just know that it works.

That’s true, we put so much of our trust into this entity that ends up having so much control over us, and in the case of Cam, I think you make a good point about the universal nature of experiencing that moment of being locked out from your account and subsequently your identity.
Yeah. I think we’ll see this more with the younger generation, the 12-year-olds, what they will be like as 28-year-olds, growing up online and creating their entire personalities and identities online. It seems like losing a part of yourself, or like you no longer have control over this part of yourself, but it’s not. It’s separate and fabricated.

You mentioned loving the horror genre, and the way that this film opens really draws you right into Alice’s world, shocking the viewer with violence and tension fairly immediately. How difficult was that opening scene—the staged suicide—to film?
That was actually my audition scene. I think that they really had to be sure that someone could understand what is happening in the scene and understand the drive to do something that crazy, for lack of a better word. Alice is completely driven by the response that she gets, and climbing that ladder. You have to understand what she’s willing to go through, and what she’s willing to put herself through and subject herself to, and you have to be able to show that she’s kind of naked, emotionally. She’s letting these people who she’s come to have friendships with online allow her to pretend to kill herself, and to egg her on. When I read the script, it was this brilliant portrayal of trolling online. If you have someone actually saying, “I’m going to go through with this, I’m going to do it,” there are people in this world who would say, “Yeah, we want to see this girl kill herself online.” We’re all so desensitized, I think, and we don’t realize that there is a whole, complex human being on the other side of that screen, and we will say horrible things. Right off the bat, it shows that the way we’ve been desensitized and the way we speak to each other online has become subhuman. I love that that’s the big grab in the beginning.

As an actor, how did you approach telling a story that exists at the nexus of both the performative nature of sex work, which is an occupation, and the performance of sharing yourself online, either through social media or other avenues?
You can replace Alice being a sex worker with being an Instagram model, or YouTube star, or Twitch streamer, and the plot line is still the same. Someone is locked out of their account that houses their online identity, and there’s someone else pretending to be them and doing things that don’t represent them. That’s something we can all relate to. We’re all online, we’re all putting cultivated and curated versions of ourselves online.

What was it like on set to film these extremely vulnerable and sometimes sexually explicit scenes? How much of a priority was safety and comfort for the actors?
If there was any element, any brief glimmer of creepiness, I would not have done this movie because ultimately I’m playing a cam girl, but I’m not a cam girl. That’s not my occupation. That’s not what I’ve chosen to do. I have chosen and I have also been chosen to tell the story of a cam girl, but I think that we confuse that for a minute, and think, Oh, you’re playing a cam girl so you’re totally comfortable doing all of this stuff. No, if I were, I’d probably make a lot of money being a cam girl and I could go do that. If there was even a hint of any sort of creepy vibe I wouldn’t have done it because I needed to be absolutely safe and comfortable on this set, and I was at every turn. It was important to me, obviously, but it was also of the utmost importance to all of our producers and our whole crew that I felt safe to do this job. It’s a heavy lift, and we shot it in, like, 20 days, and I’m in every frame. It was emotionally very taxing.

What were those conversations like between you, the screenwriter, and the director?
There was so much collaboration. We sat down and went through the entire script together, and we talked about where nudity was written and if I felt comfortable doing it the way it was written, or did I think there needed to be less, did I think there needed to be more. All of those decisions were based on my comfort level and my decisions for Alice, and Alice’s comfort level, and honoring that and doing her justice. Often times, I was written fully clothed and I was like, “No, I think she should be in a bra,” or something.

How do you, personally, handle juggling your identity between your public persona and the characters that you play?
That is something that, especially after doing Cam, I’m recognizing my own presence online and who I am online. I have my real Instagram, and I have a finstagram, where I post the stupid stuff that I wouldn’t post on my regular Instagram because no one would get it or like it. It’s difficult because now that I’m at a level where I get recognized on the street, young girls specifically will be like, “I love your Instagram,” and I’m like, “What are you talking about?” [Laughs] They’re like, “Yeah, you just post so much stuff, you’re so glamorous.” I was like, “Dude, what you’re seeing right now, this is actually me. That is a very specific version of myself that is performative and that I pay a decent amount of money to look like because I have to pay people to make me look like that! I’m not a glamorous person.” It’s all part of a game. Hollywood is a game! If you play it right, and you listen to the right people, and surround yourself with the right people who understand who you are and will enhance that and help you make a living out of it, that’s a wonderful thing.

Do you find playing “the game” to be difficult at all?
It’s difficult because you can sometimes get lost in it, and you can lose yourself in it. If I were younger and didn’t have such incredible people around me, I think I would get lost in it. It’s consuming and it’s enticing, and you can get drunk on it, honestly, on thinking that you’re this person everyone else thinks you might be. You have to have a very real and strong support system and a strong sense of self to not be consumed by it, and be chewed up and spit out. That’s how you, in my opinion, stay away from getting lost in the, “Oh, I’m so glamorous, wait, people think I’m glamorous, maybe I’ll try to be more in my everyday life like the person I present myself to be online.” If that’s a better person, that’s great. To me, it’s not a comfortable person.

What do you find to be the good or positive aspects of social media?
There are people that I’ve connected with on social media that I’ve never met, who, especially in this age of everything is available to you online but also people’s opinions on things—people just write their opinions or Instagram Story themselves, and if you follow those people you see that, and there are people in this world who don’t look like you, and if you listen to someone who doesn’t look like you, you will get a good experience. You will see someone who thinks about the world in a way that is completely different from the way you do. I am a petite white woman from South Jersey, and I follow some beautiful, black, full-figured women from the opposite coast who are experiencing life in a way that I will never know and I will never understand. I can empathize and learn and listen, but I will truly never experience that. And that’s the best thing that social media has brought me, is into their world as much as they’ll allow. Into the world of another human being whose experience is different from my own.

In the film, Alice meets up with some of the men she’s communicated with online. Have you ever become real-life friends with anyone you’ve met online?
I mean, I don’t know how much of an actual friendship is a friendship when you’ve never met. You know what, I do feel like, for example, being a fan of people’s work—I follow plenty of actors and actresses online because I appreciate their careers. And all of the sudden, they’re following me, and I send them a message like, “Yo, what’s up! I just saw you followed me. Wanna be friends?” [Laughs] And replying to people’s Instagram Stories. I do that with some of the girls from Dear White People, like Antoinette Robinson, Ashley Blaine Featherson, and Logan Brown. I met them on Instagram before I met them in person. I was just a fan of the show so I followed them all, but I guess they had all seen either Orange Is the New Black or Handmaid’s Tale or something, and we became friends. Netflix family. It also makes it much better that you have friends at parties and events because you’re like, “I know you! We’re friends on the Internet!”

You mentioned having a finsta, and I would guess finstas are still popular because many of us are still finding a need to splinter ourselves off into multiple online identities, which reminds me of the end of Cam, where an entirely new identity is developed for Alice because she needs a job, and despite the horrors she has endured, she continues to work as a cam girl. How do you interpret that ending? Why do you think she keeps going?
I think that, in a very real way, the way I relate to Alice’s ambition is that if somebody told me not to be an actor and not to pursue acting, I’d just be like, “No, you’re wrong. I’m going to keep doing this, and this is my job, and this is what I love, this is my creative outlet. It’s how I make money, this is how I come for a peace of mind. Throwing myself into this makes me a better person.” Those are all true of Alice. I think that you want to say, “Well, she only goes back to this because she’s addicted to being online, she’s addicted to that thrill.” No, she enjoys her work. She enjoys what she does, and she’s passionate about it. She feels like a better, more complete person for doing it, so that’s why she goes back, and that’s why you watch the movie and you don’t want to touch your phone for a few minutes and eventually you’re like, “Well I’ll just hop right back on and talk to people and connect with people.”

We all have a bit of an addiction to being online, I think, but how do you unplug?
How do I unplug? I don’t know that I ever have. [Laughs] Just kidding, I totally have. Often times my boyfriend and I will go up and hike in the Angelina National Forest, like, two hours outside of L.A., and there’s no service there. We kind of unplug and talk to each other. Being in nature is mostly how I unplug. I put my phone on airplane mode and leave it in the car and go out for a hike and just get some fresh air, view some things with my eyes instead of through a screen or camera.

Press: Mamie Gummer, Madeline Brewer, Brian Cox Join William Brent Bell’s ‘Separation’

Mamie Gummer, Madeline Brewer, Violet McGraw and Brian Cox have been added to the cast of Separation, joining Rupert Friend in the pic, a supernatural thriller directed by A Devil Inside helmer William Brent Bell.

The film takes on the horrifying consequences of divorce, and is being described as a cross between Kramer vs. Kramer and films like Sixth Sense and Mama. Friend and Gummer will play Jeff and Maggie, a newly separated couple battling for custody of their 7-year-old daughter (McGraw). Brewer will play the couple’s longtime nanny, and Cox is Maggie’s overbearing father. Nick Amadeus and Joshua Braun penned the script.

Bell is producing with Yale Productions’ Jordan Yale Levine, Jordan Beckerman Russ Posternak and Jesse Korman, along with RainMaker’s Clay Pecorin and Russell Geyser. Seth Posternak and Dennis Rice are xecutive producers, and Yale Productions’ Jon Keeyes is a co-producer.

Gummer, up next in Season 3 of HBO’s True Detective, is repped by CAA and Untitled Entertainment. Brewer, who is currently in Hulu’s The Handmaid’s Tale, is with CAA, Inphenate, and attorney Joe Dapello.

Press: Handmaid’s Tale star Madeline Brewer on playing a camgirl in Netflix’s webcam porn thriller Cam

The Handmaid’s Tale actress Madeline Brewer delivers a star-making turn in new Netflix Original movie Cam, set within the world of webcam porn.

Brewer plays ambitious camgirl (ie on-screen, real-time sex performer) Alice, aka Lola, who discovers she’s been replaced by an exact replica of herself. Being a horror movie fan, Brewer was interested in the role from the get-go, but had to make sure of one thing.

“After I read it, I was torn because I felt like I couldn’t let anybody else play this character, I have to play her, but it was also tough,” she told Digital Spy.

“This is a difficult character, a lot of moving parts and also I’m not a camgirl, but I wanted to be able to tell the story of a camgirl truthfully and I wanted to do it justice. Then I found out [writer] Isa [Mazzei] was a former camgirl and I was like, ‘I have to do this’.”

According to Brewer, it’s because of Mazzei that Cam avoids being gratuitous and is instead an authentic and “truthful” look at the lives of camgirls, albeit one with potentially supernatural elements at play.

“They gave me the reins of Alice and let me go with what I felt instinctively and Isa kept us in the world of truth and making a different film than we’ve seen before about sex workers and [Director] Danny [Goldhaber] kept us in the world of this is the artistic expression of that,” she reflected.

“It was very collaborative, so much discussion and conversation and I, at every moment, felt like my voice was heard as an actor and as a fellow artist, and that was so important. The character wouldn’t have happened without that rapport.”

The thriller sees Brewer deliver a dual role as both Alice and what the filmmakers called “Lola 2”, the exact replica that takes over Alice’s account.

“Most of the time, we shot a lot of Lola 2 first and then I, as Alice, could watch back Lola 2. But there was a lot of me staring at a screen with tracking marks on it, there was a lot of that which was very challenging,” she explained.

As challenging as it was, Brewer isn’t ruling out returning to the role should there be a sequel if Cam is a hit with audiences.

“I’m really very proud of it. I just believe in all of them so much, having witnessed their artistry first hand. I would play this character again a thousand times over,” she enthused.

Cam arrives on Netflix on November 16.

Press: The 10 best new films and TV shows on Netflix UK, November 2018

FILM: Cam (from November 16)
Dir: Daniel Goldhaber Cast: Madeline Brewer, Patch Darragh, Melora Walters
Cert: 15
Year: 2018

In a nutshell: Daniel Goldhaber’s feature debut sees Brewer play a cam girl. When her online life is hacked, and she’s replaced by a doppelganger, she must fight back. It’s an unlikely Hitchcock tale for the millennial age.