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Yet Riseborough's role is even more unnerving. At the film's start, she has a boy in her basement and a young woman cleaning her family's mess while she stares out a window, silent and dressed like a Victorian ghost in long, silky white nightgowns. But as Tommy progresses, she blooms like belladonna, donning more modern attire, speaking up, and even delivering her own brand of parenting in soft but stinging tones.
"It's meant to be read ideally as one massive, massive story as opposed to like in a trilogy," Maas said. "It's not a trilogy. Arcs aren't wrapped up. It's like if you expanded all of part one, all of part two — all the parts — it would be huge like that. I've never told a story that way. This is how it wants to come out."