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Matilda 2? Mara Wilson Says It’s Possible, but Doesn’t Quite Understand How It Would Work for One Good Reason
Actor Mara Wilson, who played the title role in the 1996 film adaptation of Roald Dahl's "Matilda", has said a sequel could be possible but questioned how it would logically work. Speaking at Fanboy Expo in Tennessee, Wilson, now 38, was responding to the common fan suggestion that a follow-up could centre on Matilda's daughter, an idea she pushed back on. The comments matter as they touch on how beloved franchises can be revisited decades later without undermining the original story's meaning.
Wilson argued that Matilda's psychokinetic powers stemmed directly from the adversity and abuse she suffered as a child, and that the character's arc was about overcoming those hardships through education and friendship. She reasoned Matilda would not deliberately raise a child in circumstances harsh enough to trigger similar powers, undermining the popular "Matilda's daughter" pitch. She also joked about the difficulty of imagining who would be "good enough" to marry Matilda. Wilson, also known for Mrs Doubtfire, has previously criticised the AI-generated "actress" Tilly Norwood, calling those behind it "identity thieves".
In short
- Mara Wilson says a Matilda sequel is possible but logistically tricky
- She rejects the idea it should focus on Matilda's daughter
- Powers stemmed from overcoming abuse, she argues, undermining that plot
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Matilda remains a beloved character with rich potential for meaningful continuation in a thoughtfully executed story. Rather than repeating her childhood trauma or necessarily focusing on her own children, a sequel could explore how her intelligence, values, and compassion shape her adult life—her relationships, her choices, and how she uses her gifts in a more complex world. Audiences have consistently demonstrated appetite to follow beloved characters into new chapters across many franchises, and a continuation could deepen our appreciation for her character arc without suggesting the original was incomplete.
The case against
The original Matilda reaches a natural, deeply satisfying conclusion, with the character safe, valued, and flourishing with Miss Honey—and Wilson's concern about narrative logic is well founded. Extending such a complete story risks suggesting the ending was incomplete rather than honouring it as the achievement it is, and introducing new conflict to drive a sequel could undermine the hard-won peace and belonging the original so perfectly established. Some narratives achieve their full realisation in a single film, and revisiting them, however well-intentioned, can diminish rather than illuminate what made them special.
Explained simply
"Matilda" is a 1996 film adaptation of Roald Dahl's children's novel about a highly gifted girl who develops psychokinetic powers—the ability to move objects with her mind. The film became a beloved classic, centring on how Matilda uses her intelligence and unusual abilities to escape her neglectful childhood and find happiness through education and friendship. The story's emotional arc followed her journey from adversity to hope.
For years, fans have suggested potential sequels, with a popular theory imagining a follow-up could centre on an adult Matilda raising a daughter of her own. This idea assumes her psychokinetic abilities might be inherited by a second generation. In the original narrative, Matilda's powers emerged specifically in response to the hardship and abuse of her childhood, creating a particular kind of character arc.
Revisiting successful stories from decades ago presents creative and narrative challenges. Studios often seek to capitalise on nostalgia whilst expanding beloved universes, but doing so requires preserving the themes and story logic that made audiences cherish the original. How to continue such stories without contradicting or diminishing what came before remains a persistent question in contemporary filmmaking.