Pop Culture Happy Hour — “Wayward” (Sept 29, 2025, NPR)

Overview

In this episode, host Linda Holmes is joined by Kristen Meinzer and Tre’vell Anderson to discuss Wayward, the new Netflix horror-thriller series centered on the troubled teen industry. The conversation dives into the show’s unsettling mood, nuanced characters, cult-like reformatory school, and the performances that anchor the series—particularly Toni Collette and Mae Martin. The hosts reflect on the series’ real-life roots, its open-ended mysteries, queer representation, and the creative choices that make “Wayward” both haunting and thought-provoking.

Main Discussion Points & Insights

1. Series Premise and Structure

• Setting & Plot:
  • Tall Pines Academy, a “reform” school for “troubled” teens run by the enigmatic Evelyn (Toni Collette).
  • Story intertwines two perspectives: teen inmates Abby (Sydney Topliff) and Lila (Olivia Allen Lind), and new town cop Alex (Mae Martin), whose wife Laura (Sarah Gadon) is a Tall Pines alum and still close to Evelyn.
  • The show balances personal stories and broader critique of the troubled teen industry.
  • [03:24]

2. Mood & Genre Impressions

• Wayward is painted as intense and anxiety-provoking but addictive, with both binge- and slow-watch appeal.
• The show’s horror elements are reflected in its mood, with “creepy fellow students” and staff with animal nicknames.
• “This is a lot of television show in eight episodes.” — Linda Holmes [03:50]
• “I actually really enjoyed it… I came to it for Toni Collette… but I also fell in love with Mae Martin as an actor and a writer and a creative voice.” — Tre’vell Anderson [05:06]

3. Performances

• Toni Collette praised as the “legend” that grounds the series as the unsettling Evelyn.
  • “You really have to be the center of gravity.” — Linda Holmes [16:53]
  • Her oddities, like “a weird, semi-recumbent bike” and “big tinted sunglasses,” signal both her charisma and her menace [07:19, 18:14].
• Mae Martin’s creative talents as both actor and series creator are highlighted.
• “But I also in the process, fell in love with Mae Martin as an actor and a writer and a creative voice. I really, really enjoyed it.” — Tre’vell Anderson [05:33]
• Young cast (notably Sydney Topliff as Abby) receives recognition for nuanced, unsettling performances [15:26–16:21].
• “All the kids are so good. They hold their own. They are not a monolith.” — Kristen Meinzer [16:21]

4. Character Dynamics & Representation

• Alex, the cop, is depicted as “meek” and “timid”—unusually restrained for a protagonist, especially within law enforcement.
  • “There are so many points where I’m like, Alex, be kick ass. Come on, do it.” — Kristen Meinzer [06:48]
  • “I appreciated the kind of meek approach to that character… I think it was a great character for me to be the one introducing us to this… cult.” — Tre’vell Anderson [09:03]
• Alex’s trans identity is both discussed and integrated, creating subtly tense, “over-accommodating” scenes in town; the show reflects anxieties of being “accepted” to a suspicious degree [10:57–12:08].
  • “It almost seems to play into the sense that when he first gets to this town…maybe the people are, like, too accepting…he doesn’t really trust them.” — Linda Holmes [09:53]
  • Parallels with how the troubled teen school often targets nonconforming identities [12:35].

5. Thematic Layers

• Troubled Teen Industry Critique:
  • The series reflects real-life abuses, “kidnapping”-style abductions, and punitive philosophies [14:10–14:44].
  • “It seemed so spot on. It was like a kidnapping. And that’s what happened to Paris Hilton.” — Kristen Meinzer [14:32]
• Queer Narratives & Parent Expectations:
  • Storylines for Lila (bisexual), other queer characters, and the sense that many students are there due to not conforming to their parents’ ideas of normal [13:24–14:09].
• Cult Analogies:
  • The academy and surrounding town take on cult-like aspects, reinforced by peer pressure, forced cheerfulness, and strange rituals [15:31–16:21].

6. Narrative Mysteries & Unanswered Questions

• The series is driven by mood and unresolved mysteries rather than neat answers.
• Recurrent motifs (e.g., toads) are left ambiguous, which some viewers may find frustrating.
  • “I do think you get to the end, it’s like, sorry, what were the Toads about?” — Linda Holmes [07:19]
  • The hosts wonder if this signals a potential second season [20:44]
• Comparison with shows like Lost, where not everything is explained [07:19].

7. Music & Symbolism

• The song “In the Pines” features in the show and serves as a narrative clue.
  • “The lyrics actually pretty much tell the whole story and give you spoilers.” — Kristen Meinzer [19:56–20:41]

8. Final Reflections

• The door is left open for a second season without feeling incomplete.
• All agree the show is effective, darkly entertaining, and showcases a range of performances and creative risks [20:44–21:04].

Memorable Moments & Quotes

• “You come for Toni Collette, but you stay for Mae Martin.” — Paraphrased theme throughout [05:06–05:46]
• “I just gotta say, you don’t have to binge it all at once. But I did it all in two sittings…” — Kristen Meinzer [06:05]
• “Evelyn rides this weird, like semi recumbent bike thing…so creepy and yet it’s so dorky.” — Linda Holmes [07:19]
• “There are so many points where I’m like, Alex, be kick ass. Come on, do it.” — Kristen Meinzer [06:48]
• “It almost seems to play into the sense that … maybe the people are, like, too accepting…” — Linda Holmes [09:53]
• “She does a little bit of everything. And here she really has to be the center of gravity.” — Linda Holmes on Toni Collette [16:53]
• “When I saw Stacey…this is a spin on the overly cheerful roommate that winds up playing into the sort of cult element.” — Linda Holmes [15:32]
• “Many charismatic [leaders] are also dweebs.” — Linda Holmes [18:23]

Key Timestamps

• [03:24] Series premise overview and character setup
• [05:06–05:46] Initial reactions; standout performances (Toni Collette, Mae Martin)
• [06:05–07:19] Pace, bingeing habits, mood-setting, narrative confusion
• [07:19–09:53] Unanswered mysteries, symbolism, and the “toads”
• [09:03–12:35] Alex’s character, representation, and “over-acceptance” in the town
• [12:35–14:44] Troubled teen industry realities and queer themes
• [15:26–16:21] Young actors’ performances
• [16:53–18:55] Toni Collette’s centrality, creative risks, and show’s gravity
• [19:56–20:41] Song “In the Pines” as spoiler-laden motif
• [20:44–21:04] Closing thoughts, second season possibilities

Tone

The conversation is thoughtful, humorous, and enthusiastic, balancing pop culture insight with personal reflection. Participants speak candidly about their genre preferences, industry context, and the emotional effect of the show, maintaining a tone that is upbeat but honest about its darker elements.

In summary:
Pop Culture Happy Hour’s discussion of Wayward is a compelling exploration of a show that is unsettling, layered, and full of strong performances and creative vision. The hosts highlight its commentary on the troubled teen industry and queer identity, praise its cast and symbolic details, and ultimately recommend it—while still wishing for answers about those mysterious toads.