Mae Martin understands the puzzlement you may feel about the events unfolding in Tall Pines, the make-believe Vermont village central to “Wayward,” the fresh Netflix series Martin conceived, scripted, and acted in.
For instance, what does the enigmatic Evelyn Wade (Toni Collette), the poised leader at Tall Pines Academy, a school with a cult-like ambiance for troubled youths, imply when she speaks of a door in a mother’s mouth to the children under her care?
Why does Alex Dempsey (Martin) witness his pregnant wife, Laura (Sarah Gadon), sleepwalking into the lake shortly after their return to Tall Pines, Laura’s hometown? Why do the school kids insist on something sinister lurking behind closed doors? And why are Canadian teens Abbie (Sydney Topliffe) and Leila (Alyvia Alyn Lind) the only ones willing to take action?
Martin acknowledges the potential confusion regarding the show’s tone. As “sinister” is not typically associated with their predominantly light-hearted past roles, such as their triumph on the British panel show “Taskmaster,” their comedy podcast with Tig Notaro, and their hosting of the Canadian Screen Awards in a Dune-inspired worm costume.
“I aimed to narrate a tale of adolescence, self-discovery, and individuals grappling with societal expectations,” Martin explained in a recent interview with the cast. “The genre elements and the sense of foreboding were intrinsic to the storyline.”
Following its premiere at the Toronto International Film Festival and subsequent release on Netflix, “Wayward” swiftly rose to the top spot in the streamer’s global English TV category.
The series has thrust Canadian storytelling into the limelight, alongside “Kpop Demon Hunters,” directed by Canadian filmmaker Maggie Kang, which has maintained a top 10 position in Netflix’s English films list for a remarkable 15 weeks.
Unlike “Kpop,” “Wayward” prominently showcases its Canadian origins. The narrative follows Alex, Abbie, and Leila, newcomers to the secluded, peculiar town with a Stepford Wives-esque vibe.
Alex, a troubled cop with a mysterious past, navigates challenges in Tall Pines. While Martin identifies as nonbinary and prefers they/them pronouns, their character, Alex, is a trans man. A forthcoming child offers hope for the future, yet Laura’s complicated history with Evelyn poses a threat.
As Alex delves into Evelyn’s school, a pattern of unexplained disappearances emerges, unraveled by friends Abbie and Leila after being sent to the institution by their parents. The trio endeavors to safeguard one another and uncover the school’s dark secrets amidst navigating its intricate behavioral levels system and the ominous “leap” ceremony.
The series unabashedly emphasizes its Canadian roots throughout, resonating with a sense of national identity. However, these overt nods are also the most distinguishing aspect of “Wayward.”
In a post-“Stranger Things” era, where there is an insatiable appetite for vaguely supernatural, true crime-inspired content, “Wayward” struggles to stand out, except for its persistent Canadian references.
Despite its shortcomings, “Wayward” delves into queer themes, adding a layer of authenticity and ingenuity to the narrative. The performances by Martin and Collette are commendable, with Isolde Ardies shining in her role as the frenzied informer Stacey.
While the show’s potential is evident, particularly in its poignant conclusion, further development could propel it to greatness in subsequent seasons or future projects by Martin.
In summary, “Wayward,” as a debut project from Martin, shows promise, with hints of brilliance waiting to be fully realized in potential future installments or endeavors.