Natalie Palamides in Nate. Photo-Illustration: Vulture and Courtesy of Netflix There is just nothing like Natalie Palamides’s Nate. Built on Palamides’s background in sketch, devised theater, and clowning, it is a part of all three and yet also something completely new. It’s an incredibly sensitive, heartfelt, intellectually provocative show while also featuring some of the dumbest and most lowbrow bits you’ll find anywhere.
So in a previous Incubator, I had blown fire. And so I was like, Oh, what else feels risky to me? How about wrestling? And so I was thinking, What could be a good character to wrestle with? And I just pulled out Nate out of my back pocket and came up with the wrestling scene that you see in the full long hour show. But that was the first ten-minute piece that I created from the show.
A lot of the times, they teach that you should drop your planned bits and follow whatever people are laughing at, and play that out fully in a game, and then you can always return to what you had planned. But always be in the moment. And in terms of creating Nate, I definitely adjusted the character based on what people were responding to. I did have him pretty well figured out going into it, but I’m sure that I adjusted for what the audience was approving of.
On Consent Initially, when I started workshopping the show, I had no intent of exploring consent or the gray area of consent. But all of this stuff about Me Too kind of erupted. Initially, I was just thinking, Oh, I’ll make a show about masculinity and toxic masculinity. I was like, How can I make a show about that and not address this, that is so kind of intertwined with it? You can’t really explore toxic masculinity without exploring consent.
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