Landman Star Michelle Randolph’s Debut Horror Film With Emily Bader

Taylor Sheridan’s oil drama Landman has established Michelle Randolph as one of television’s rising performers, with her portrayal of Ainsley Norris marking a significant evolution from her previous work in the Yellowstone universe. Yet years before joining the Sheridan-verse or securing her role as Elizabeth Strafford in 1923, Randolph launched her screen career in a modest supernatural thriller alongside Emily Bader, who has since gained recognition through Netflix romantic comedies and prestige television projects. Their collaborative debut, a 2017 Syfy original titled House of the Witch, represents a fascinating early chapter for both actresses as they prepare for their respective high-profile upcoming projects.

From Modeling to Acting: Michelle Randolph’s Hollywood Entry

Randolph’s path to screen performance began not on a film set, but in the fashion industry. After relocating from Northern California to Huntington Beach in 2016, she signed with a modeling agency that same year and initially pursued work in front of the camera through print and commercial bookings. However, the transition to dramatic performance happened rapidly once she experienced the atmosphere of a professional production. According to the actor, stepping onto her first film set revealed an immediate passion for the craft, prompting a decisive career pivot away from modeling toward full-time acting pursuits. This revelation occurred during the production of House of the Witch, which would become her debut credit and the catalyst for her subsequent training and auditions.

The decision to abandon modeling entirely after just one project demonstrates the profound impact that initial experience had on her professional trajectory. Unlike many performers who gradually transition between careers, Randolph made a clean break after recognizing where her creative interests truly lay. This single television movie effectively redirected her entire professional life, setting in motion the chain of events that would eventually lead to her casting in Sheridan’s expansive universe of contemporary Western dramas.

Emily Bader’s Early Career Landscape

While House of the Witch represented Randolph’s first professional credit, Emily Bader arrived on set with considerably more experience under her belt. By 2017, Bader had already built a diverse resume spanning multiple genres and formats, establishing herself as a working actor before landing the higher-profile projects that would define her later career. Her pre-2017 credits included a mix of television movies and guest appearances that provided the foundation for her subsequent breakout roles.

Bader’s early work encompassed several notable entries:

• Lifetime television movie Stalked by a Reality Star
• Independent feature films Anonymous Killers and Broken Visions
• Guest appearances on Nickelodeon’s Henry Danger and Game Shakers

This foundational experience contrasted sharply with Randolph’s green status, though both performers would eventually find their way to Netflix projects. Following their shared horror debut, Bader went on to star in the surprisingly fright-free Paranormal Activity: Next of Kin and fronted Prime Video’s My Lady Jane, though the latter was unceremoniously cancelled after its first season. She has since gained significant attention for her leading role in the Netflix romantic comedy People We Meet on Vacation.

Inside the 2017 Syfy Production ‘House of the Witch’

The project that brought these two performers together was directed by Alex Merkin, whose previous credits included overseeing Across the Hall, Brittany Murphy’s final film from 2009. Produced specifically for the Syfy cable network, House of the Witch operated within the constraints and expectations typical of television horror movies from that era—modest budgets, contained locations, and supernatural premises designed to deliver genre thrills efficiently.

The narrative follows a group of teenagers who accept a dare to spend Halloween night inside an abandoned house, only to encounter a malevolent supernatural force. Randolph portrayed Rachel, one of the ill-fated teens who breaks into the dilapidated home, while Bader appeared as Lana Brady, another member of the endangered group. As the story progresses, the titular witch systematically eliminates the intruders in gory fashion, while also potentially possessing one of the youngsters to facilitate her escape from supernatural confinement. The film hits all the expected beats of the subgenre, with the abandoned location serving as both setting and catalyst for the escalating violence.

Despite the routine nature of the plot mechanics, the production provided both actresses with valuable on-set experience and their first significant exposure to the demands of genre filmmaking. For Randolph especially, the project offered an immersive introduction to the technical and emotional requirements of screen acting under tight television production schedules.

Critical Reception and Audience Response

Contemporary reactions to House of the Witch were decidedly mixed, with viewer sentiment on aggregation platforms suggesting limited appeal beyond dedicated genre enthusiasts or completist fans of the two leads. Letterboxd users largely expressed disappointment, with many ratings falling at or below one star. One particularly candid viewer noted they had been “rooting for the witch the whole time,” indicating that the character development failed to generate the intended sympathy for the teenage protagonists.

The film’s critical footprint remains minimal years later. Rotten Tomatoes hosts only a single review for the title, and that solitary assessment trends negative. However, these harsh judgments should be contextualized within the reality of low-budget television movies, which typically prioritize efficient execution over artistic ambition. For viewers interested in tracing the early development of Randolph and Bader’s screen personas, the film offers a curious time capsule—evidence of their willingness to commit to genre material even when working with limited resources and familiar narrative templates.

The production values and screenplay may not have impressed critics, but the experience nonetheless served as a practical training ground. Both performers have since demonstrated significantly more range and nuance in their subsequent projects, suggesting that even undistinguished early work can provide essential building blocks for career longevity.

Current Trajectories: Landman Season 3 and ‘The 99’ers’

The professional distance between this 2017 horror outing and their current positions highlights the non-linear nature of screen acting careers. Randolph is currently preparing to evolve her approach to Ainsley Norris for the third season of Landman, indicating that the character will undergo significant changes or face new challenges as the series progresses. Her work in the Sheridan universe has clearly established her as a dramatic lead capable of anchoring complex emotional storylines—a far cry from the survival-horror dynamics of her debut.

Meanwhile, Bader has secured one of her most prominent roles to date, having been cast to portray retired soccer icon Mia Hamm in Netflix’s upcoming movie The 99’ers. This biographical project represents a substantial step up in profile from her early television movie work, demonstrating how sustained effort through mid-tier projects can eventually lead to prestige casting. The trajectory from anonymous horror victims to portraying one of America’s most recognizable athletes illustrates the unpredictable nature of casting evolution in the streaming era.

Where to Watch the Early Horror Collaboration

For viewers curious to witness these early performances or trace the genesis of two rising careers, House of the Witch remains accessible through ad-supported streaming platforms. The film is currently available to watch for free on both Tubi and Pluto TV, requiring no subscription fees beyond acceptance of commercial interruptions. While the production may not rank among the most distinguished entries in either actress’s filmography, it offers an instructive look at the foundation upon which their subsequent success was built.

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