When Meghann Fahy Read the first script for Netflix limited series “Sirens”, she loved it so much that she did everything to hunt for it. “There were other people who were looking for it, but I really wanted it,” Fahy said.
Adapted for TV by Molly Smith Metzler from her game 2011 “Elemeno Pea”, the series thinks fireworks develop over an eventful Labor Day weekend at an lavish beach where manicated lawns, perfectly trimmed hydrangeas and Lilly Pulitzer-bearing clones are abundant. Fahy’s sex-and-alcohol-levied character, Devon-Hjärtslaget about which “sirens” Resolves – represents the antithesis to the cultic world of wealth and abundance produced over the five dark comic sections.
When the series begins, Devon is desperate after saving his younger sister, Simone (Milly Alcock), who is happy to be traded in his lower middle class for Fancier Perks as the personal assistant for socialitis Michaela Kell (Julianne Moore). Devon reluctantly integrates himself into what is a seemingly image-perfect lifestyle, but nothing can prepare her for how shady the water really is and how anchored her sister is.
“As soon as I read the pilot, I knew who she was,” Fahy said. “I could imagine. I could really get in touch with her. I think everyone has had an experience in their lives where they feel they have not heard anywhere. It is so satisfying to see her move through that world and get it wrong so many times but be so relentless himself.”
It is a space that Fahy has become deeply acquainted with. All through event, of course. After her breakthrough Emmy-nominated role as the forgetful rich housewife Daphne Sullivan in season 2 of HBOs “The White Lotus,” Fahy was who revolved on a similar theme -show, including last year’s Netflix ministry series “The Perfect Par”, which was set at a luxurious Nantucket wedding that is delayed after her character has been murdered.
“It’s fun because people draw that conclusion between some of the other projects I have done, which take place in an environment with super-rich people-and that’s true,” she admitted. “But in terms of character, Devon is someone I just love so much on the page and I really wanted to do something different.”
Despite the familiar environment, “Sirens” gave the 35-year-old actress the opportunity to live in the skin on a character who felt “a little more true to me and which I am than some of the other things people have seen me do- (specific) how she uses humor, how no frills she is and how sarcastic she can be,” said fahy. “I’ve played many people who are a little more polished, so I loved her mobility and her tomboyishness.” It was also easy for Fahy to lock in Devon, which works almost like the audience’s surrogate. “She goes towards her environment, and that’s where much of her comedy comes from.”
Fahy singles out the vibrant eight-sided opening scene from the second episode, where Devon jumps off a yacht, swims to land in the dead night’s dead and confront Simone at Michaela’s manor in an extreme attempt to bring her home. Emotions go high in the crucial bedroom scene when the sisters verbally save their divergent life.
“It is really difficult when you films such a scene, which has moments of real humor and moments of real anxiety and these emotional beats between these two sisters,” she said. “We had to shoot the whole scene, all eight pages, for a while. We had to do it a bunch of times of course, but (director Nicole Kassell) calculated a way for us to do it in real time, which is so rare and was so helpful for Milly and me for the scene ramping up. And it is difficult to come from one to b if you have to stop
It is an achievement that Fahy likes to think about when she looks back at her time to do “sirens” last summer. “In my career in general I will never forget it.”
This story first ran in the race begins the edition of Thewrap’s Awards Magazine.
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