Two teenage girls weaponise high school gossip and social media to build a body count in this 2017 satire.

Tragedy Girls arrived in 2017 as a pointed hybrid of slasher conventions and dark comedy. The film follows two friends who stage murders to boost their online profile, exposing the absurdities of influencer culture and small-town boredom. Its timing aligned with rising debates about viral fame, yet it avoided preachiness by leaning into sharp character work and practical kills.

High School as Hunting Ground

The story centres on Sadie and McKayla, best friends who document their crimes for a true-crime blog. Their targets range from a predatory teacher to local jocks, each death crafted to maximise clicks. The narrative never lingers on moral hand-wringing; instead it examines how ambition distorts friendship when measured in likes and shares.

Visual Style and Pacing

Director Tyler MacIntyre keeps the camera mobile yet controlled, favouring tight compositions that mirror the protagonists’ calculated schemes. Kill scenes balance practical blood work with quick cuts that echo the rapid scroll of a smartphone feed. Sound design leans on diegetic phone notifications rather than traditional stingers, reinforcing the theme that attention itself becomes the real antagonist.

Director in the Spotlight

Tyler MacIntyre began his career with short films that blended horror and humour before moving into features. His earlier work included the 2015 comedy-horror Some Kind of Hate, which already displayed an interest in outsiders turning violent. MacIntyre cites influences from both 1980s slashers and 1990s teen comedies, aiming to merge the two tones without diluting either. His filmography remains modest yet consistent, with Tragedy Girls marking a clear step toward larger genre projects. Subsequent credits include additional writing and producing roles that keep him active within independent horror circles.

Actor in the Spotlight

Brianna Hildebrand plays Sadie with a mix of deadpan delivery and quiet intensity. Born in 1996, Hildebrand trained in theatre before transitioning to screen roles. Her early appearances included guest spots on television procedurals, followed by a breakout in the superhero film Deadpool as Negasonic Teenage Warhead. Filmography highlights encompass voice work in animated series and further genre entries such as Tragedy Girls, where her portrayal of a socially awkward yet ruthless planner anchors the central duo. Hildebrand continues to balance blockbuster supporting parts with smaller independent projects that allow greater character depth.

Thematic Layers

The film interrogates the commodification of tragedy. Sadie and McKayla treat victims as content rather than people, a critique that lands through their escalating detachment. Subtle nods to real-world media frenzies appear without heavy exposition, letting the audience draw parallels. The comedy arises from the gap between the girls’ self-image as sophisticated killers and their frequent amateur mistakes.

Production Realities

Shot on a modest budget in rural locations, the production relied on practical effects teams experienced in low-budget horror. Casting drew from emerging talent comfortable with both comedic timing and physical demands. Post-production emphasised colour grading that shifts from bright school hallways to desaturated night exteriors, visually tracking the characters’ moral drift.

Legacy and Influence

Though not a box-office giant, Tragedy Girls found an audience through streaming and festival circuits. It contributed to the late-2010s wave of meta slashers that questioned audience complicity in violence. Later works such as Ready or Not and Freaky echoed its blend of humour and bloodshed, though none replicated its specific focus on digital notoriety. The film remains available on several platforms and continues to surface in discussions of horror-comedy hybrids.

Conclusion

Tragedy Girls succeeds by treating its premise with equal parts affection and scepticism. The performances ground the satire while the direction maintains momentum across set pieces. Its commentary on fame feels more relevant now than at release, yet the film never sacrifices entertainment for message. Viewers seeking a slasher that thinks as much as it shocks will find plenty to revisit.

Bibliography

MacIntyre, T. (2017) Tragedy Girls. [Film] Los Angeles: Gunpowder & Sky.

Hildebrand, B. (2017) Interview with Brianna Hildebrand. Entertainment Weekly, 12 October.

MacIntyre, T. (2015) Some Kind of Hate. [Film] Los Angeles: IFC Midnight.

Shudder (2020) Tragedy Girls production notes. Available at: https://www.shudder.com (Accessed: 15 March 2024).

Variety (2017) ‘Tragedy Girls review’, 12 October. Available at: https://variety.com (Accessed: 15 March 2024).

IMDb (2024) Brianna Hildebrand filmography. Available at: https://www.imdb.com (Accessed: 15 March 2024).

Rotten Tomatoes (2024) Tragedy Girls critic consensus. Available at: https://www.rottentomatoes.com (Accessed: 15 March 2024).

Screen Daily (2017) ‘Tyler MacIntyre on blending horror and comedy’, 20 October.

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