This is the first in a new series of articles that we’re calling “How I got here.” We’ll be talking to McGill alums in their twenties and thirties about how their careers developed and some of the things they’ve learned along the way.
When Natalie Coffen, BA’18, was named to the 2025 Forbes 30 Under 30 list for Hollywood and entertainment, she was understandably happy – but also slightly abashed. “You see people on the science list and they’re, like, curing cancer. And I’m making standup specials,” she chuckles. “But we all need to laugh.”
Now more than ever. In an increasingly volatile world, comedy seems to have achieved a new kind of relevance, both as an escape and an outlet for the emotions churned up by these tumultuous times. And Hollywood-based Coffen is at the centre of it all.
As creative executive at Push It Productions, a comedy-focused production company founded by comedian Wanda Sykes and writer-director Page Hurwitz, Coffen has worked on Netflix specials for comedians like Cristela Alonzo and Michelle Buteau, the sitcom The Upshaws, and a documentary about the history of LGBTQ+ comedy, Outstanding: A Comedy Revolution.
Coffen majored in cultural studies at McGill and served as the managing editor of Scrivener Creative Review, the University’s oldest literary publication. She was also the director of programming and later the executive director of the Entertainment Management Conference, an event organized by the Desautels Management Undergraduate Society in partnership with evenko.
We caught up with Coffen a day before she was set to fly to Virginia to produce a new stand-up special for Sykes.
Were you interested in comedy as a teenager?
Watching Saturday Night Live was a big one for me. My best friend in high school, Marty [Graham], would come over and we’d watch it together. He actually went on to be a comedian. Also, when I was in the ninth grade, my mom sat me down and was like, ‘I’m going to show you this TV show that meant so much to me when I was growing up.’ I’d seen clips of old shows and the humour never hit for me. But then she put on the Mary Tyler Moore Show and it was the funniest thing I’d ever seen. These women were just so captivating and well dressed. I remember missing out on parties in high school because I’d stay home and watch it with my mom.
Did you have comedy in mind when you went to McGill?
I was considering a career in journalism. I wrote for the Tribune and the Daily and also for The Main. I [interviewed] this comedian based in Montreal, Angelo Tsarouchas. He was hilarious. I thought, ‘This is so fun, talking with creative people.’ But there was also this journalism conference at McGill and the journalists there were [saying], ‘Hey, this industry kind of sucks and is kind of dying right now. So, unless you’re truly passionate about it, find something else.’ I remember really appreciating that advice. It’s also funny, because I think of where entertainment is and I tell people the same thing now – but we’ll get to that later.
While you were at McGill, you played a key role in putting together the Entertainment Management Conference. What was that like?
It was this sweet spot of creative people and business-minded people. [That] was such a pivotal experience – it really helped me figure out the path I wanted to pursue.
Then you worked for Just for Laughs.
I’m a born-and-raised Montrealer, so working at an institution like that was really exciting. And until then it hadn’t fully clicked that I wanted to work in comedy. I had been going to shows with Marty and watching all the things I watched, and I knew I liked it, but I didn’t want to be on stage at all. I was kind of like, ‘What if I did behind-the-scenes stuff?’ Working at Just for Laughs, all the puzzle pieces fell into place. It was like comedy boot camp – I got to learn who everyone was. Not just comedians, but who all the agents were, what all the networks were. It was just crazy. Really long nights, an intense work environment, but with the best people ever.
You’ve been at Push It for more than four years. What sets it apart from other production companies in Hollywood?
There’s no real division between scripted and unscripted, which I think is quite different from the way most companies operate. For us, if it’s funny, we’ll do it. Stand-up specials, sitcoms, talk shows, documentaries. Which is a really exciting spot to be in. Page and Wanda have made a really beautiful career of uplifting marginalized voices in a way that’s authentic and not performative. I’ve had the opportunity to work with some hilarious people and some very kind people.
You mentioned earlier that you might discourage people from going into the entertainment industry today. Why is that?
The industry has contracted so much – there have been so many mergers and acquisitions, consolidations and budget cuts. I know so many out-of-work people right now who are incredibly talented. That being said, I am actually pretty optimistic about the industry. Things are shifting towards short form content. There are a lot more podcasts. Comedy in particular is really having a moment. Comedians are expected to be thought leaders now.
What’s next for you?
Living and working in Canada has always been my end goal. About a year ago, Page and I started a Canadian company called Snowbird and we’re pitching projects to Canadian broadcasters. You know, Canada has always been at the forefront of comedy. I forget who said it, but it was about why Canadians are so successful in American comedy – it’s because we understand [the U.S.] and we blend in, but we have this outsider’s perspective. I mean, look at how many successful Canadian comedians there are. I’m hopeful we can start producing things in Canada because I am very excited to come back home.
