Most of Ayo Edebiri’s characters are women with complex motivations that occasionally lead them to make messy choices. A new profile explores the actor and comedian’s own drive.
She played up her youth and developed a style punctuated by exaggerated motion—a leg kicked out in a fit of agitation, a hand jabbed at the audience for emphasis—which lent her sets a distinctive, frenetic energy.
Her sets soon led to writing gigs on shows like “Sunnyside,” “Dickinson”, and “Big Mouth.” Nick Kroll, one of “Big Mouth” ’s creators and stars, had encountered Edebiri during a standup show in Los Angeles, where they were sharing a bill. “She was, like, twenty-four, and already so in control of her voice,” he told me. When Kroll invited her to interview for the “Big Mouth” writers’ room, she spent the entire session talking about puberty.
“Big Mouth” had begun to explore Missy’s racial identity in earlier seasons, but the change in voice actors marked a critical transformation in the character’s life—and in Edebiri’s own. She now had a recurring role on one of Netflix’s most popular series. But the casting decision also made her a target. Harassers have called her parents repeatedly, leading Edebiri to scrub their information from the Internet; she requested that their names not be included in this piece.
On set, Edebiri bounces between intense focus and jocularity. After they wrapped the pastry scene, Edebiri bounded toward craft services, swinging a giant water bottle. “Great kid. Beautifully out of her mind,” the actor Edwin Lee Gibson said, with no further embellishment., the creator and star of the series “Ramy,” who would soon be directing an episode of “The Bear” himself, stood nearby.
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