Mae Martin on Making Wayward and the ‘Tragedy’ of Their Character’s Final Decision

by

As Mae Martin’s new show approached its release, many people commented that the thriller – which focuses on a problematic institute for teenagers – was a surprising change of pace from their usual comedy. However, Martin doesn’t see it that way. In a recent video call, they explained that they’ve often explored themes of adolescence and how people deal with their teenage years in their work, so this new show feels like a natural extension of everything they’ve done before.

I just finished watching *Wayward* on Netflix, and it’s definitely a shift in tone from Mae Martin’s usual stand-up. But honestly, like their fantastic series *Feel Good*, it really dives into some heavy stuff – trauma, addiction, complicated relationships – but manages to find humor even within those difficult situations. It’s a surprisingly funny show, even while tackling some really serious themes.

The series *Wayward* is set in the seemingly perfect town of Tall Pines, Vermont. It centers on Abbie and Leila, two teenage best friends attending Tall Pines Academy, a boarding school that claims to help troubled teens. They’re deeply disturbed by the school’s strict and unsettling methods, led by counselor Evelyn, and begin planning an escape. Meanwhile, Evelyn holds a strange influence over the entire town, which goes unnoticed until a new police officer, Alex, and his wife, Laura, arrive. Alex soon suspects something is terribly wrong beneath the town’s idyllic facade and joins forces with Abbie and Leila to uncover the disturbing truths about Tall Pines, the school, and Evelyn’s hidden agenda.

The new series *Wayward* is both captivating and heartbreaking, particularly because it’s based on the troubling realities of youth residential treatment facilities. A U.S. Senate report released in June 2024 revealed that many of these facilities, similar to the show’s Tall Pines Academy, engage in abusive and neglectful practices. According to the report, children often experience *more* trauma while in these facilities than they did before. This issue has also been brought to light by recent documentaries like *Teen Torture, Inc.* and *The Program*, as well as by the advocacy work of Paris Hilton, all of which are pushing for much-needed reforms within the industry.

TIME interviewed Martin, the creator, writer, and producer of the series, about their personal reasons for telling this story, how they got ready to portray a small-town police officer, and their experience collaborating with Toni Collette.

This interview has been edited and condensed for clarity.

You know, the whole reason I even started working on this show came from a friend of mine, Nicole Simon. She actually *went* to one of those troubled teen institutes, and it really stuck with me. And yeah, she wasn’t just my inspiration – she was actively involved in the writing process too. Her experiences were crucial to getting the story right.

The show is a heartfelt tribute to the bond of friendship, especially the way teenage girls talk – it really reminded me of growing up in Toronto. We worked with a consultant who shared her experiences with the writers and reviewed the scripts. We also sent one of our writers, Misha Osherovich, to observe one of these schools firsthand. It was crucial for us to do thorough research while also being mindful and respectful of the diverse experiences people have had in these programs.

You’ve often talked about your own difficult teenage years, including struggles with addiction and time in rehab. Did any of those personal experiences directly influence the characters or storylines in this show?

It’s woven throughout the show, actually. That was really liberating, because in *Feel Good*, I was essentially playing myself, so my perspective often came through my character. This time, it was great to be able to express parts of myself through *all* the characters. I think Leila is the closest to who I was – someone who really needs help, but is also struggling with a lot of shame.

Alex is a tough police officer who isn’t afraid to bend the rules. What did you do to get ready for such an intense and demanding part?

I tried not to overthink things, as I was completely absorbed in the scripts and the filmmaking process. That was helpful, because I often struggle with feeling like I don’t belong as an actor. But working on this project, I actually fell in love with acting more than ever before. Sarah and Toni were incredibly supportive and encouraging. I even got a trainer and enjoyed doing physical work, like running. Though, I got a lot of notes on my running technique – it wasn’t very good! Luckily, the cast and crew helped me improve, teaching me how to run more naturally.

Did you not play any sports growing up?

No, I was smoking cigarettes.

Watching Toni Collette *become* Evelyn was honestly captivating. She didn’t just play the character, she inhabited her completely. As a critic, I was particularly struck by her subtle choices – the way she’d shift from brittle composure to raw vulnerability in a single glance. It wasn’t about big, showy moments, but the quiet, internal struggles she conveyed. There were definitely moments where she took the character in directions I hadn’t anticipated, and it was consistently brilliant. She really dug deep and brought a fascinating complexity to Evelyn.

Evelyn really surpassed what we hoped for. People are naturally drawn to her – they want her affection and validation – so she radiates warmth and has a captivating personality. The more I listened to Toni discuss her role, the more I found myself completely drawn in – I almost wanted to be part of the group her character led! Plus, Toni is hilarious. She delivers humor in a very natural and believable way, always staying true to her character.

Evelyn’s teaching focuses on helping students overcome trauma passed down through their families. What inspired you to make that the central theme of her lessons?

Talking to people who went through these programs, a common theme was the separation of children from their families and communities. We often inherit a lot from our parents – their experiences and emotions – and there’s a certain appeal to imagining what someone would be like if they were raised completely apart from all of that, like being raised in the wilderness.

One of the most intense parts of the film is this group therapy scene – it’s incredibly harsh, with the characters really tearing each other apart with their words. As a movie fan, I was really curious about what it was like to film that. I wondered what the atmosphere was like on set with those young actors, having to deliver such cutting lines and react to each other.

The actors became very close during filming and were completely engaged in their roles. It was likely the first time many of them had performed for Toni, so they really wanted to impress. The intense therapy session depicted wasn’t exaggerated at all; in fact, real-life therapy in similar settings can be even more dramatic. The whole concept of tearing someone down only to rebuild them is incredibly harmful.

The series ends with almost every character facing a major turning point, but we don’t find out what happens to them. Was this open-endedness your intention for the finale?

When I watch, I’m always thinking about where the characters will end up, morally, and whether they’ll choose to stay or leave. It might feel unclear because the characters sometimes make decisions viewers don’t agree with, but I appreciate that Alex ultimately prioritizes a comfortable life with his family over his principles. I see that as a significant moral weakness, but I can also understand why he’d make that choice. I empathize with Leila’s decision to stay, and I’m glad Abbie escaped. I hope the ending feels complete and worthwhile, even though it’s not perfectly neat and tidy.

Right before the movie ends, Alex appears to leave Laura and their baby, driving away with Abbie. This scene shows him leaving with the baby and driving out of town. What was the purpose of including that moment?

It’s heartbreaking to see what he *could* have been – the hero he imagined himself to be – because it makes his ultimate failure even more painful. We see his desire to protect others, and then he’s left to grapple with the shame of not being able to fulfill that role.

I was really hoping that he had actually gotten out of there.

I was really eager to see how a particular scene would turn out. The actor I was working with was a bit inexperienced and lacked confidence. During a late-night, freezing cold shoot – everyone was exhausted – Sydney and I insisted on recreating a famous scene from the movie *The Sixth Sense*. It’s the one where Toni is in the car with the young boy and says, “Grandma says hi.” We filmed it exactly like the original, with me playing Toni and Sydney taking on the role of Haley Joel Osment’s character.

Ok, release the tape…

Yeah, we have to. We just showed it to Toni on the press tour and she was like, “You’re insane.”

Beyond its look at the troubled teen industry, the show *Wayward* deals with difficult topics like trauma, hardship, addiction, and loss. What’s the main thing you want viewers to think about after watching it?

I don’t usually aim to send a specific message with my work. I’m more focused on creating an emotional experience. I want people to tap back into the feelings they had as rebellious teenagers, and I hope it makes them think about how they interact with young people today. I strongly believe in supporting and validating young people’s feelings – especially their anger and frustration about the world we’re leaving them – instead of dismissing them.

Read More

2025-09-25 23:07