MAE MARTIN IS NOT AFRAID OF BLURRING BOUNDARIES — BETWEEN COMEDY AND DRAMA, VULNERABILITY AND BOLDNESS, FACT AND FICTION. WITH WAYWARD, THEIR NEW NETFLIX SERIES, THEY STEP FULLY INTO THE ROLE OF CREATOR, ACTOR, AND CULTURAL PROVOCATEUR. SET IN 2003, THE SHOW IS A RAZOR-SHARP EXPLORATION OF ADOLESCENCE, CONTROL, AND THE DANGEROUS ALLURE OF BELONGING, FRAMED THROUGH THE HAZY WORLD OF THE “TROUBLED TEEN” INDUSTRY. BUT WHILE THE STORY DRAWS FROM MAE’S OWN TEENAGE MEMORIES AND UNSETTLING REAL-WORLD PARALLELS, WAYWARD IS AS MUCH ABOUT NOW AS IT IS ABOUT THE TIME IT DEPICTS: A PORTRAIT OF INTERGENERATIONAL CONFLICT, A CRITIQUE OF MORAL COMPROMISE, AND A LOVE LETTER TO THE RESILIENCE OF YOUTH. TALKING TO MAE FEELS A LOT LIKE WATCHING THE SHOW — FUNNY ONE MOMENT, SERIOUS THE NEXT. IT’S SURPRISING, PLAYFUL, AND NEVER QUITE WHAT YOU EXPECT.

Left Blazer **McQueen**
Right Sweater **Milli Point Two**, shorts **Caleb Paris**, shoes **Asics**

Tank top **Calvin Klein**, pants **Levi’s**, jewellery **Sterling Forever**

Hi Mae, congrats on the Wayward release! I read that the show was inspired, at least in part, by your best friend’s experiences.

Yes. The heart of the story is the friendship between Abbie and Leila, and I had a best friend in my teens who was sent to one of these “troubled teen” schools, which sparked my interest in that industry. That experience was really just the kernel of emotional truth for this big, crazy thriller. The industry itself is still very shady, and I wanted to explore that – but also, I wanted to make a broader statement about adolescence and the world we hand down to the next generation.

For me, it was Paris Hilton’s advocacy that brought significant attention to this industry and how harmful it can be in recent years. How did you want your story to engage with the issues that are currently discussed about these schools in the public discourse?

I think it’s crucial to listen to young people and take their struggles seriously. Growing up, I was obsessed with the sixties – Pink Floyd, the Beatles, Woodstock. There’s a naivety to that era, but also a creativity and optimism that we desperately need now. Those same forces birthed self-help cults, which eventually fed into the troubled teen industry. I hope the show ignites that rebellious, creative teenager in people, while using cults as a metaphor for the moral compromises we make to have a comfortable life.

Shirt **Sandro**, pants **Levi’s**, shoes **Marc Nolan**

Sweater **Milli Point Two**, shorts **Caleb Paris**, shoes **Asics**

What made you set the story in 2003? Was it because back then, not many kids had smartphones?

Two reasons. One, it is much easier to tell a thriller/mystery story without smartphones. Two, 2003 was when I was a teenager – I was 16 – and the troubled teen industry was less transparent back then. Mental health literacy was low, weed was illegal, and parents often saw these schools as a good option. Survivors hadn’t found each other online yet, so the environment felt more isolated.

Were there specific aspects of the industry you felt were underrepresented?

Honestly, almost all of it. The show isn’t meant to be an accurate depiction of these schools – it’s heightened, but actually, surprisingly, not as much as you would think. The more I researched, the more I was shocked by the levels of abuse, the number of missing kids, and the extremes. My goal was less about exposing one particular detail and more about exploring adolescence, coming of age, and intergenerational conflict. What are we doing for kids who are struggling, and could we do better?

The cast features a lot of teenagers. What was your process like directing younger actors through dark and intense material?

That was the part I was most nervous about. If you’re making a show about teenagers, you have to get them right. I didn’t want 35-year-olds pretending to be teens – I wanted authenticity. We cast young actors with raw vulnerability and encouraged them to take ownership of their characters. They were amazing, and having them on set kept everyone present. Their energy is infectious – they reminded us that being fully engaged and having fun is part of the process.

Let’s talk about Evelyn, played by Toni Collette – she’s terrifyingly good, as one would expect. Was she always who you had in mind for the role?

In the writer’s room, we were picturing “someone like Toni Collette,” but never expected her to read the scripts and be interested in taking part. But she was drawn to the subject matter, as she’s very interested in psychology and has teenage kids; she asked incredibly thoughtful questions and brought so much to the role. Her arrival on set was electric – everyone knew she was there, and we were all so excited. Toni’s gift is playing truth in the moment, whether it’s comedy, drama, or horror. She’s the perfect villain because she’s layered – you understand her motivations, see her vulnerabilities, and then she terrifies you in the next scene.

Left Tank top **Calvin Klein**, pants **Levi’s**, jewellery **Sterling Forever**
Right Sweater **Milli Point Two**, jewellery **Sterling Forever**

Left Blazer McQueen, shirt **Sandro,** pants **Levi’s**, shoes **Marc Nolan**
Right Sweater **Milli Point Two**

Did she bring things to the character that surprised you?

Absolutely. She collaborated on the costume and look – the glasses, the earthy “granola” vibe, even the rhythm of her speech. All of it helped to fully realise Evelyn. One of our first scenes with her was a dinner scene, and it was just magical – watching Toni and Sarah Gadon bring such nuance, humour, and depth. For me, as a comedian with imposter syndrome, it was a masterclass in acting.

There’s a great balance between funny and scary moments throughout the show. How did you approach that?

The tonal balancing really happens in editing. Comedy and horror both rely on tension and release, rhythm, and pace. We looked to works like Fargo, Rosemary’s Baby, and Get Out – stories that are scary but also witty. Ultimately, it’s about keeping performances grounded so that, tonally, the world feels cohesive even when the story shifts from terrifying to funny in an instant.

Let’s talk about your character, Alex – what made you want to play him, and how does his arc connect to themes of belonging and becoming?

I think he’s really driven by a desire to be accepted and to belong. He’s seduced by the idea of this heteronormative nuclear family, and he holds onto these outdated ideas about being a protector and provider. That’s his biggest weakness.

At first, he’s kind of the audience’s eyes – moving through the town, piecing the mystery together. But I also wanted it to be clear that I’m commenting on these systems that are so damaging and, at the same time, really seductive. Cults are such a powerful metaphor for that.

Without giving spoilers, he makes some very dark choices. I hope they feel relatable, even if they’re difficult. I also didn’t want his trans identity to be a central plot point, but thematically, you can feel his yearning for acceptance. That explains why he’s willing to stay in that situation and turn a blind eye to so many things.

There’s also a very intimate love scene in the show between your character and the character played by Sarah. How did that come about?

I can’t believe they let me do it! [Laugh] It’s a turning point for the characters’ relationship. He’s just had a violent outburst, and Laura is rising to power. And I think when we see that scene, we really understand what's so special about them as a couple, why they love each other, and what he's so drawn to and addicted to. I think it's a cool representation. If I were a teenager, I'd be like, “Whoa.” [Laughs]