“Boy Meets World” Star Rider Strong Expresses Outrage Over Treatment of Olsen Twins on “Full House”
LOS ANGELES, Calif. — The childhood experiences of Mary-Kate and Ashley Olsen on the iconic ABC sitcom “Full House” have come under renewed scrutiny after actor Will Friedle, known for his role on “Boy Meets World,” shared his firsthand observations of the twins’ treatment as toddlers on set. Friedle’s remarks, made during a recent episode of his podcast Pod Meets World, elicited a strong reaction from co-star Rider Strong, who openly expressed his discomfort and outrage at the methods used to keep the young stars focused during filming.
Mary-Kate and Ashley Olsen, who famously shared the role of Michelle Tanner starting at just nine months old, became household names through their early work on “Full House,” which debuted in 1987. The twins’ dual casting was a direct response to strict child labor laws that limited the amount of time infants could be on set, a practice well-documented by the U.S. Department of Labor. Despite their tender age, the twins quickly rose to stardom, starring in over 20 movies and TV shows before their 18th birthday and eventually founding Dualstar Entertainment Group to manage their projects.
Friedle recounted an unsettling memory from his time interviewing the Olsen twins during his Nickelodeon years in the late 1980s and early 1990s. He described how the twins’ handler used two Dixie cups taped together filled with M&Ms to capture and maintain their attention on camera. Whenever their gaze drifted, the handler would shake the cups to redirect their focus. Friedle said, “It was weird,” a sentiment echoed by Strong, who added that the twins were essentially “trained by food,” with scenes often filmed as singles to ensure they were rewarded only if they delivered their lines correctly.
This revelation aligns with accounts from “Full House” co-stars Jodie Sweetin and Andrea Barber, who recently discussed the dynamics of working with the twins on their podcast How Rude, Tanneritos. Sweetin noted that Ashley was more compliant on set while Mary-Kate was less enthusiastic, a difference that persisted as they grew older. Both actresses recalled how directors had to carefully divide scenes involving treats like candy to avoid disputes between the twins.
Strong’s reaction to these accounts was one of deep discomfort. “I just kept imagining… what are we looking at?! We are looking at a child being tortured,” he said, emphasizing the ethical concerns surrounding the treatment of child actors. Friedle offered a more measured perspective, acknowledging that while “tortured” might be an extreme term, the experience was nonetheless unsettling. He highlighted the pressure placed on very young children to perform repeatedly under the watchful eye of cameras and crew, often without understanding the reasons behind their actions.
The discussion sheds light on broader issues related to child labor and welfare in the entertainment industry, areas overseen by agencies such as the Children’s Bureau and regulated by state laws. Experts and advocates have long debated the balance between protecting young performers and enabling their participation in creative work. The Olsen twins’ early career exemplifies the complexities involved, as they transitioned from infant actors to successful entrepreneurs in fashion and business, eventually stepping away from acting entirely.
As the conversation around the twins’ early experiences gains traction, it underscores the importance of continued vigilance and reform in the industry to safeguard the well-being of child performers. The legacy of shows like “Full House” remains culturally significant, but so too does the responsibility to ensure that the youngest actors are treated with care and respect throughout their careers.
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