Wayward

Summary

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.

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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].

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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]

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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

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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.

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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.

Transcript

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[Linda Holmes]

Hey, before we get to the show, if Pop Culture Happy Hour has ever helped you explain Barbenheimer, survive a marvel phase or pretend you understood succession, did you do us a favor and leave a five star review? Channel your inner culture critic and let us know why you love the show. Thanks. In the new Netflix series Wayward, the picturesque town of Tall Pines is home to a facility that promises to fix troubled teens shipped in from far and wide. The deeply creepy woman who runs the place is only more unsettling because she's played by Toni Collette. And when a cop moves to town with his wife, who's a graduate of the facility and an acolyte of its leader, he starts to think something is very, very wrong. I'm Linda Holmes and today we're talking about Wayward on Pop Culture Happy Hour from npr.

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[Linda Holmes]

Joining me today is Kristen Meinzer. She co hosts the nightly on Hatch. Hey, Kristen.

[Kristen Meinzer]

Hey, Linda. How are you?

[Linda Holmes]

I am fine. Also with us is journalist and host of the podcast Seated Trevel Anderson. Welcome back, Trevel.

[Trevel Anderson]

Hello. Hello.

[Linda Holmes]

Hello. So Wayward is a horror thriller about the troubled teen industry. It looks at this reform school called Tall Pines Academy from basically two different angles. We follow two teenage girls, Abby and Lila, played by Sydney Topliff and Olivia Allen Lind, who end up there as students slash inmates. Their parents have been promised that their fairly benign behavioral problems can only be sorted out by the very strict, very secretive school supervised by the Tall Pines boss, Evelyn Dun dun dun. Evelyn is played by Toni Collette. The show's creator, May Martin plays a young cop named Alex. He moves to town and joins the local police force. His pregnant wife, Laura was once a Tall Pines Academy kid herself. She's played by Sarah Gatton. She remains close to Evelyn, who has gone so far as to set the couple up with a house to live in. Eventually, particularly as the birth of their child approaches, Alex starts to worry about his wife's continuing closeness with the weirdest person he has managed to meet since he started his new job. As Alex settles in, he sees a lot of weird stuff going on, specifically involving kids from the Academy. Meanwhile, Lila and Abby are realizing from the inside just how bad it is, from creepy fellow students who have adopted attitudes of total subservience to. To unsettling Academy staff who have animal nicknames like rabbit. Wayward is streaming on Netflix. Now. This is a lot of television show in eight episodes. Trevel, I'm going to start with you. How'd you like it?

[Trevel Anderson]

You know, I actually really enjoyed it. And I have to say, I'm not typically a fan of the horror thriller suspense. I'm one of those people with really bad anxiety when it comes to those things. But. But obviously being able to start and stop on Netflix helped me with this, but it was something that I came to it for Toni Collette to see. You know, the legend do what she does.

[Linda Holmes]

Indeed.

[Trevel Anderson]

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. I think it's definitely something that folks should check out for. Sure.

[Linda Holmes]

Yeah. I always think with Netflix, like, you don't have to watch it all in one big binge just because they release it. Like, you can watch a little bit and then walk away. I sometimes find that to be the most pleasurable and as you mentioned, least anxiety producing way to watch some of these things. Kristin, what did you think of Wayward?

[Kristen Meinzer]

Well, I just gotta say, you don't have to binge it all at once. But I did it all in two sittings because I really enjoyed the setup of the show. I love any couple coming to a small town and either falling in love or falling apart or being haunted or whatever happens to a couple in a small town, I want to see it. And I especially love the cult like Reformatory School. I loved all of the cast. I was really wowed by Sidney Topliffe, who plays Abby. I thought she was quite good. I've always loved Mae Martin. No matter what Mae Martin does, I'm in. And of course, Toni Collette, as Trevelle was saying, like, yeah, Toni Collette. But I will confess I was a tiny bit confused at the beginning about whether we were dealing with multiple timelines. I was a little confused with the kids, with the school versus the couple moving into the town. I was confused about a couple of different things. Like I don't think I totally, by the end understood all the toads. There's a lot of mention of toads in this. A lot of sightings of toads. And I do wish that our main protagonist, Alex was more fierce, less timid, less reactionary and more kick ass. I just. There are so many points where I'm like, alex, be kick ass. Come on, do it.

[Linda Holmes]

I get that. It's interesting because I really liked this as a mood piece. I like the beginning when you're getting to know the kids and you're getting to know Alex and Laura and certainly when they're introducing Evelyn. Evelyn rides this weird, like semi recumbent bike thing. And it's so perfect because it's so creepy and yet it's so dorky. Evelyn wears these big tinted sunglasses. It's very like, on the one hand it's all very innocuous and it also just comes off very creepy. And I really like how they set it up. I do think that, like, if you're the kind of person who is very annoyed that on Lost they never explained, like, who was shooting at the Outrigger. I think there will be parts of this show where you will get to the end and be like, wait a minute, you didn't answer all my questions. I think as a mood thing, it's extremely effective and I think as getting the general sense of like, how fearful these kids at this reformatory school are and how, you know, punitive the school is. And obviously this, in a way, connects back to some documentary pieces that are on Netflix and elsewhere about this quote, unquote, troubled teen industry and how awful it is. It's not a lot better than, you know, how it's portrayed here in the more straightforward elements. So I really liked the setup of it and the mood of it. I think I have maybe in common with Kristen a sense that, like, I got to the end and there were some pieces that I didn't think they ever really explained. Like, why is that in there? Because when you're setting up a creepy situation, you obviously use a lot of things where it's like, ooh, look at this. Isn't that creepy? I do think you get to the end, it's like, sorry, what were the Toads about? Like, I get most of this. What was the situation with the Toads? Trayval, how did you feel about Alex as a main character?

[Trevel Anderson]

You know, I appreciated the kind of meek approach to that character. You know, like, there absolutely were moments where I was like, okay, stand up. Like, you know, fight back. Like, do the thing. But I think it was a great character for me to be the one introducing us to this, you know, cult, introducing us to the various, you know, eccentricities of this world. And I also think that Mae Martin, I've known them primarily as a comedian, and so I think there are these, like, small, subtle, like, comedic moments and flourishes that pop up, that they carry off and embody, you know, so well, at many moments.

[Linda Holmes]

Yeah, you know, I share that feeling of, like, you gotta get outta here. You gotta do something. This is all super terrible, but that's every, like, horror protagonist in some ways. And I look at this character, especially since he's in law enforcement, like, he's not necessarily trained to immediately be like, I'm instantly gonna just assume that everything is totally out of hand. He's got that, like, sense of, there is order, and I can restore order in an ordinary way. I was also really interested in the fact that Alex is trans. They talk about a couple of times, and it certainly is acknowledged and it's part of the story. But it's interesting to me how it almost seems to play into the sense that when he first gets to this town, he has this feeling, like, almost like maybe the people are, like, too accepting or like, he doesn't really trust them, which is a weird, like. But that's kind of the vibe that I got, is that he's almost, like, uneasy about how much everybody's, like, I don't know, all completely on board.

[Trevel Anderson]

But There are. Everyone is also, like, very much so, trying to let him know that they're on board. You know what I mean?

[Linda Holmes]

Exactly.

[Trevel Anderson]

There's a moment where the sheriff or whoever the main cop person is. Right. Is introducing him and does this quick stumble, you know, into the correct pronoun.

[Linda Holmes]

Oh, let me introduce you to everybody. Hey, everyone, gather around. This is Alex Dempsey. I want you to make him feel very, very welcome.

[Trevel Anderson]

Right. There are these other moments where Alex's partner, their alarm goes off for them to take their shot, and they're like, yep, same time every day. You know, these affirming moments that I think pop up. But I also. I'm not sure that if you are just, you know, coming to this randomly and you don't know much about who Mae Martin is outside of this. I think those are, like, storytelling inclusion elements that I found surprising, even as someone who is attuned to them specifically. And I thought that was beautiful.

[Linda Holmes]

Yeah, I think it works both as a piece of storytelling and also there are moments where it has almost the get out. I would have voted for Obama three times. Like, there's that thing of, like, okay, is this person trying a little too hard to make sure that I know how comfortable they are in a way that can come off uncomfortable. But as you say, it's also just a way of storytelling and including in the story that this is part of Alex's life and story.

[Kristen Meinzer]

But also, it does hearken back to what is a troubled teen school fixing. And in a lot of cases, a troubled teen school is fixing a kid who does not conform to certain standards of straightness or behavior, or, again, straightness. And the fact that one of Laura's friends that she went to Tall Pines Academy with is somebody who is gay but is celibate. And that's something that's touched on a few different times on the show, like, who's gay, who's not gay, who's bisexual. And is that really what makes them, quote, unquote, troubled to their parents? So it makes sense to me that there would be. Be a certain kind of. I don't know if acceptance is the right word, but understanding that this is part of our town, this is part of the population we have here, especially.

[Linda Holmes]

Since the population is so largely made up of people who have gone through this school. Like, so much of the town is adjacent to the school in various ways. But I think you're exactly right that it's very clear that the kids who are coming there, I mean, some of them are in more, you know, crime Adjacent trouble, I guess I would say, like, they've done more petty crime or whatever, but absolutely, some of them are just kids who aren't turning out the way that their parents hoped they would. Or, you know, honestly, in the case of Lila, she's partly there because her parents have never been capable of giving her any kind of support or life. And so she is the one who ends up being treated like she's troubled.

[Kristen Meinzer]

And she's bisexual, too, which is.

[Linda Holmes]

And she's bisexual.

[Trevel Anderson]

Yeah.

[Kristen Meinzer]

I also just have to say, as far as the troubled teen oeuvre, when Abby is first taken from her bedroom off to the school. Did you guys read Paris Hilton's memoir or watch the documentary about her troubled teen?

[Linda Holmes]

I've seen a couple of documentaries. I think that's pretty true to what happens in a lot of these places. They do come and take kids in the middle of the night. Yeah.

[Kristen Meinzer]

It seemed so spot on. It was like a kidnapping. And that's what happened to Paris Hilton. And I think some people watching the show might think, ooh, it is a horror movie. But that's pretty much spot on with what people have experienced.

[Trevel Anderson]

And I also think, as we're talking about, you know, the young folks right. In this project, they're all doing great work. Like, I feel like they all, you know, rise to the occasion of the angst that we want of, you know, you're playing opposite Toni Collette. Okay. You better bring it. And they do. And I think they help lock you in to this kind of. You mentioned watching it in two sittings. Right. They kind of help lock you into this world and the anxieties and the fears, with also unique character points for each of them. That I thought was beautifully done.

[Linda Holmes]

Yeah. Well, the girl who plays Stacy, who is initially Abby's roommate.

[Kristen Meinzer]

Yes.

[Linda Holmes]

You know, every movie or show about a facility has the overly cheerful roommate. I feel like that is a classic. When I saw Stacey in this, I just thought, oh, this is that. Except this is a spin on the overly cheerful roommate that winds up playing into the sort of cult element. But I think that kid is just unsettling. And I think that's exactly what that part calls for, is the performance in that. That is unsettling because I looked at her and I was. You just keep going.

[Trevel Anderson]

Yeah. But you don't want to look away at the same time.

[Linda Holmes]

No.

[Kristen Meinzer]

Yeah.

[Trevel Anderson]

She's definitely a highlight, for sure.

[Linda Holmes]

She does it perfect. That actress is sold rds. I feel like I should say her name, since I was just praising her work.

[Kristen Meinzer]

Yeah, she's great. But I agree with Travell. All the kids are so good. They hold their own. They are not a monolith. They each have their own backstory, their own personality, and their own fears and strengths. And the show really illustrates how in a lot of ways, the reform school is making them criminal in a way they never were before the school. And the only job to survive is to put on a happy face and pretend you don't have pain, even as maybe you're becoming more and more troubled while you're there.

[Linda Holmes]

Yeah. I gotta say, it's remarkable how much charisma it takes to be in the Toni Collette part in something like this. And in some ways be doing a lot of what people expect you to do. Like eventually giving very philosophical arguments for why you're harming people and very like. But this is all for your own good. And there's. There's not a ton in this character that I think is hugely surprising from a script perspective. I don't think what you eventually learn about her is very different from what you would maybe as a person who's seen a lot of TV and movies say, oh, she's probably gonna turn out to say a lot of stuff like this and a lot of stuff like this. But the range of Toni Collette is such that she can bring a very odd kind of horror sensibility to this, as with the horror that she's done in the past. You know, you're hereditary and all that stuff. Which I only know from seeing little parts of it. Cause I not gonna watch the whole thing. Cause it's too scary. But even like across her career, when you've seen her, you know, she's been in dramas, she's been in Knives out, in which she's so funny. She does a little bit of everything. And here she really has to be the center of gravity.

[Kristen Meinzer]

Yeah. And I love what you said about her tricycle that she rides around and her glasses. Because you're this dynamic leader. But you're such a dork.

[Linda Holmes]

Exactly, exactly. Many charismatic are also dweebs. Like, that is true.

[Trevel Anderson]

I mean, she is the reason why I think, you know, her face. Right. Evelyn's face is the poster image for this. And I do think that she's definitely the center, definitely the sun. But there's so much going on around her. Right. That I also think is what's going to keep people. You know what I mean? Especially if you think that she's doing something she always does. For example.

[Linda Holmes]

No, I don't think she's doing Anything she always does, she's just bringing, I think, a sort of, like I said, there's a charisma that it takes to play a role and convince people that all these other people who work for her and this entire town would essentially be in her thrall. It takes a lot of charisma just to get people to follow you, whether it is for great reasons or less great reasons. But I am happy that Mae Martin created this because, as Trevill talked about, I'm also familiar with them mostly from comedy and from either standup or. They had a really nice role in the Flight Attendant with Kaley Cuoco.

[Kristen Meinzer]

That's how I got introduced to Mae Martin. I was like, ooh, who is this? Yeah, just jumps off the screen in that show.

[Linda Holmes]

Super, super good in the Flight Attendant and have made other shows and other projects and stuff like that. But I think, like, I really like this as a kind of a creative. I guess it's not the most obvious thing for Mae Martin to do next. And that's why I sort of dig it, you know?

[Trevel Anderson]

Yeah, absolutely.

[Kristen Meinzer]

Okay, so the song in the Pines, were you all familiar with that song before this? Okay, so I was familiar with it. Dolly Parton sings a version of it. I love Dolly. Loretta Lynn sings a version of it. I'm just gonna recommend to the listeners, if they don't want any spoilers and you don't know the song in the Pines, don't listen to it before this because the lyrics actually pretty much tell the whole story and give you spoilers, so.

[Linda Holmes]

Oh, yes. Well, now I gotta go list. It is a beautiful song.

[Trevel Anderson]

Right. I'm like, oh, I need to pay attention.

[Linda Holmes]

Yeah.

[Kristen Meinzer]

But if you don't know the song, that's fine. But if you do know the song, just don't think about the lyrics. Don't think about the lyrics.

[Linda Holmes]

But maybe after you watch the show as we are now. Yes.

[Kristen Meinzer]

It's a little spooky, and it kind of gives away the story.

[Linda Holmes]

All right. Love it. And I will say, I do think they leave the door open enough that if they decided to come back, they could come back. But if it didn't happen, you wouldn't feel like they didn't finish the story.

[Kristen Meinzer]

But if they do come back, I want to find out about those toads.

[Linda Holmes]

I agree.

[Trevel Anderson]

There is a lot of opportunity left. Absolutely.

[Linda Holmes]

All right, tell us what you think about Wayward. Find us on [e-mail] PCHH that brings us to the end of our show. Treval Anderson, Kristen Meinzer, thank you so much. For being here to talk to me about toads.

[Trevel Anderson]

Thank you.

[Kristen Meinzer]

Thank you.

[Linda Holmes]

And just a reminder that signing up for Pop Culture Happy Hour plus is a great, great way to support our show and public radio. And you get to listen to all of our episodes sponsor free. So please go find out more at plus.npr.org happy hour or visit the link. It's in our Show Notes. This episode is produced by Carly Rubin and Mike Katsif and edited by our showrunner, Jessica Reedy. And hello, Come in provides our theme music. Thank you for listening to Pop Culture Happy Hour from NPR pr. I'm Linda Holmes. We will see you all next time.

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