Nava Mau Emotionally Shares Why She ‘Needed’ Netflix’s ‘Baby Reindeer’

In this week’s episode of The Envelope video podcast, “Baby Reindeer” breakout Nava Mau and “Shōgun” star Hiroyuki Sanada share their experiences and the impact of their roles in their respective shows.

Hi everyone, welcome to another episode of The Envelope podcast. My name is Yvonne Villarreal and I’m joined by my colleagues, Mark Olsen and Shawn Finnie. Today, we have two guests from shows that have made significant cultural impacts. Mark, let’s start with who you spoke to.

I spoke with Nava Mau from “Baby Reindeer.” When the show aired on Netflix, it didn’t come with much fanfare. Yet, it quickly became one of the most-watched series on the platform. The show, created by Richard Gadd, is based on real-life events and portrays a struggling comedian in London who gets stalked by a woman at his workplace. Concurrently, he begins a new relationship with a trans therapist named Teri, played by Nava Mau. Teri’s character provides a grounding realness to the story, making it a breakthrough role that earned Nava a nomination in the supporting actress category for a limited or anthology series or movie.

“Baby Reindeer” didn’t just elevate Nava Mau’s career; it exposed audiences to rich, vulnerable storytelling and complex characters. Nava’s next project is the new season of “You” on Netflix, further demonstrating the power of Netflix’s recommendation engine.

Who did you talk to, Shawn?

I spoke with Hiroyuki Sanada, who plays Yoshii Toranaga in “Shōgun.” The show is beautifully shot and delves deep into themes of love, power, and war. Adapted from the classic book, the newest iteration of “Shōgun” made history for its significant Japanese representation at the Emmys. This series joins Hiroyuki’s extensive career, which includes over 50 series and 50 movies. His career spans over half a century, beginning in 1966. Hiroyuki shared his journey and the continuous excitement of being part of such significant cultural projects.

Mark, your interview with Nava Mau is up next.

For the Los Angeles Times and The Envelope podcast, I’m Mark Olsen with Nava Mau from “Baby Reindeer.” Thanks for joining us, Nava.

Thank you for having me, Mark.

When “Baby Reindeer” launched on Netflix, it quickly became one of the most-watched shows. What was it like to see such a response?

It was unbelievable. None of us expected it to reach as many people as it did. It felt like waking up on a plane already in flight.

What do you think made the show resonate so much with viewers?

There’s so much in the show to connect with. Richard’s story is the heart of it, but his writing brings the other characters to light in a very vulnerable way. Audiences see parts of themselves in all the characters.

Were you surprised by the attention the real story received?

Yes, because for me, it was all about the phenomenal script and the experience of working together. It felt like a connection and a release, so the characters on set and screen are what I think of.

Was Teri based on a real person?

She’s based on someone Richard dated during that time in his life. So she’s out there somewhere.

How have conversations with fans been for you, given the intensity of the show’s content?

I’ve worked with trauma survivors before acting, so I’m used to holding space for intense emotions. “Baby Reindeer” engages topics in a way that encourages personal and communal conversations about trauma and healing, which is an honor to be part of.

What drew you to Teri’s character?

Reading the script felt familiar. I hadn’t seen writing from someone who truly knew and loved a trans woman, confronting the dating dynamics and shame walls from the perspective of a cis man.

Is it challenging to find roles that reflect your experiences?

Yes, I always assumed I’d have to write my own roles. “Baby Reindeer” was only my second series, and I never imagined anyone would write a role with someone like me in mind.

What about your performance as Teri stood out for you?

Teri is grounded and knows who she is, which was both appealing and challenging for me because I often feel anxious and doubtful. Preparing for Teri’s confidence helped me find that internal structure within myself.

The scene where Martha attacks Teri is intense. How did you prepare for it?

I built Teri’s backstory, her relationships, and the context of the attack in my mind. On set, everything needed to be in place so that I could react authentically.

Did your experience as a counselor influence your portrayal of Teri?

Yes, I drew on my counseling experience to play Teri’s therapist side. Validating emotions and exploring options without judgment helps create a safe space, which I incorporated into my portrayal.

How does acting for others’ projects compare to your own?

I love acting in other people’s writing, especially when characters challenge my personal traits. It creates a fascinating friction and electricity on-screen.

Did “Baby Reindeer” influence your own work like your most recent short film?

Yes, both projects were integral to me. “Baby Reindeer” taught me to let go and fly, which I applied to directing my short film, allowing for more organic and flexible performances.

What does Emmy recognition mean to you?

It’s surreal and humbling. The recognition from peers who understand the work is an honor, and it inspires me to revisit some big dreams.

Has this recognition opened new opportunities for you?

Yes, doors are opening, and I’m meeting amazing people. But it’s just the beginning; I still need to step through those doors.

Thanks so much, Nava.

Thank you for having me.

Hiroyuki, your career spans decades. What thoughts does that bring to you?

It feels like everything in my life led me here. I’ve always loved acting, and each experience built my career.

How does your current acting approach compare to your beginnings?

I feel more like my child actor self now. Producing “Shōgun” freed me up as an actor. It was like revisiting childhood improvisation but with the wisdom of experience.

Why did you decide to produce “Shōgun”?

I saw the value in contributing from the start. Producing allowed me to ensure authenticity and enjoy the creative process fully.

How did your past experiences prepare you for this role?

Every project, especially “The Last Samurai,” taught me about cultural authenticity. Producing “Shōgun” felt like a natural extension of that responsibility.

What was it like to shoot “Shōgun” not in Japan but in Vancouver during the pandemic?

It was challenging but necessary. We ensured authenticity through cultural advisors and maintained high standards despite the limitations.

What themes from “Shōgun” resonate with you personally?

The concept of fate is significant. I believe every experience brought me to this point. Everything connects and contributes to who I am today.

Thank you, Hiroyuki.

Thank you.

This story originally appeared in Los Angeles Times.

Source: Los Angeles Times