Wayward is unlike any other thriller – for one unexpectedly inspired reason

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Warning: contains major spoilers for Wayward.

Wayward takes place in the seemingly perfect town of Tall Pines – the kind of place with classic white picket fences. However, beneath the surface, things aren’t as idyllic as they appear.

If you’ve seen any of Mae Martin’s previous work, this probably won’t come as a shock. Martin also plays Alex Dempsey, a police officer looking into some worrying missing person cases at the local school.

If you enjoy Taskmaster or Mae Martin’s show Feel Good, you probably know they often explore their identity as non-binary in their comedy. So, you might be surprised to find these themes in a psychological thriller. What’s really unexpected, though, is *how* Martin approaches the subject in this new work.

I was so impressed with how this story avoided the usual tropes about queer people going back to their small towns. It could have easily fallen into clichés about prejudice and hardship – and honestly, there’s a good reason many of us leave those places and head for the city, hoping to find acceptance. It’s not *always* bad, but rural areas can often be tough for LGBTQ+ folks. This story felt different, though, and that was really refreshing.

When Mae’s partner, Alex, arrives in Tall Pines, the town’s residents don’t react at all to the fact that he’s a transgender man. This is especially noticeable when another officer immediately welcomes Alex as one of their own, leading you to suspect that this easy acceptance might be a carefully constructed illusion concealing something sinister beneath the town’s surface.

However, as the series progresses, it becomes clear that this isn’t actually the case at all.

It’s true that Tall Pines has a lot of issues, but they aren’t related to prejudice or discrimination against LGBTQ+ people.

Alex is openly himself, and doesn’t feel the need to constantly discuss his identity. This isn’t a story focused on the challenges or triumphs of being transgender. It’s a sometimes humorous, often unsettling thriller, and its main character simply happens to be a trans man.

Stories featuring people with gender identities that differ from societal expectations are uncommon in film and television, despite what some might think. Even more unusual is seeing these themes naturally woven into stories that aren’t specifically about LGBTQ+ experiences.

Alex using fake testosterone shots as an excuse to leave and continue his investigation is a subtle way to represent trans identity without making it the central theme. While stories *about* trans identity are incredibly important and deserve to be told, there’s value in simply portraying trans experiences as everyday occurrences, particularly right now.

Around the middle of the scene, there’s a conversation between two teenage girls, Abbie and Leila. Abbie makes a crude joke about police officers, and Leila responds by questioning whether a character named Alex is male.

This kind of humor could be problematic in other shows, but it works well in Wayward because the show is fundamentally about queer experiences. Plus, the writer, Martin, is heavily involved, which adds another layer. Many of the characters, including Leila, are implied to be bisexual.

Wayward doesn’t just make a statement through dialogue or simply showing a trans character; it actively portrays Martin’s sexuality. Right from the start, Martin is often shown shirtless, and there’s a particularly striking intimate scene with his wife. This level of physical exposure is significant, especially considering how often trans bodies are marginalized. And, frankly, it adds some much-needed heat to the thriller!

What really stands out about Wayward is its balanced portrayal of LGBTQ+ characters like Alex. The show avoids painting anyone as purely good or evil; even the more villainous characters have complex motivations, existing in shades of grey. This applies to everything, from the characters themselves to even the unsettling details, like the strange water with tadpoles.

Looking at the series as a whole, that’s what makes the ending in particular so special.

Just when it seems Alex has successfully escaped Tall Pines with Abbie and their baby, the show reveals this happy ending is a deception. In reality, Alex abandons Abbie, prioritizing his new family over what’s right.

The show avoids portraying Alex as selfish simply because he’s gay. Instead, it’s notable for showcasing a queer family – a transgender man, his queer wife, and their baby – as central to the story. The community genuinely embraces this family, even though it now largely consists of unconventional followers led by Alex’s wife; it’s still a positive and celebratory depiction.

I’m completely hooked on Wayward! It constantly throws you for a loop, and honestly, that’s what I love most about it. It really messes with what you think is going to happen. But it’s more than just a spooky show – it completely reimagines what ‘family’ can even mean, and it does it all through a really fresh, outsider lens. Forget the jump scares or even the funny lines – it’s that unique perspective that makes Wayward stand out and feel so special.

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2025-09-26 21:35