From awkward intimacy to deep family bonds, Meghann Fahy and Milly Alcock reveal what makes Netflix’s new limited series Sirens a complex exploration of sisterhood, power, and survival.
A sisterhood born on screen
Netflix’s Sirens brings together two captivating performances from Meghann Fahy (The White Lotus, The Bold Type) and Milly Alcock (House of the Dragon), who portray sisters in a story that probes complicated family dynamics and social class tensions. Despite neither actress having siblings in real life, their onscreen chemistry is so genuine it makes you wish they were real sisters.
“It made me want a sister,” Alcock says during an interview with Teen Vogue, sitting beside Fahy. Fahy smiles and jokes, “You got one, babe.” Created by Molly Smith Metzler (known for Maid and Shameless) and based loosely on her play Elemeno Pea, Sirens is not just about sisterhood—it’s about the power dynamics that money and class create, especially among women navigating difficult social terrains.
Set in a coastal town reminiscent of Martha’s Vineyard, the story revolves around Simone (Alcock), a devoted assistant to Michaela “Kiki” Kell (Julianne Moore), and her complicated relationship with her estranged older sister Devon (Fahy). When Devon unexpectedly arrives seeking help, she quickly grows suspicious of Kiki, believing her to be the leader of a cult. The show unpacks complex ideas about loyalty, social mobility, and what it means to belong.
Trauma and that infamous neck-licking scene
One of the most talked-about moments in Sirens is Devon’s impulsive neck-licking encounter with Jose (Felix Solis). When asked about this scene, both Fahy and Alcock admitted to nearly forgetting it themselves.
“It’s so cringy and really funny, and then it immediately gets so sad,” Fahy explains. “Devon has an unhealthy relationship with sex. That moment reveals her self-destructive tendencies and trauma, wrapped in impulsivity.” Alcock adds, “It’s heartbreaking because she’s trying to soothe herself with affection she barely understands.”
Both characters carry scars from their pasts, which shape their actions in painful but believable ways. Fahy points out that Devon’s impulsiveness in that scene mirrors other aspects of her life—acting before fully processing consequences. The neck-lick is not just bizarre; it’s a poignant visual of a woman wrestling with vulnerability and her own complicated needs.
Learning the language of sisters
Neither Fahy nor Alcock have siblings, but playing sisters forced them to explore what sisterhood really looks like. Fahy shared that her closest friends are twin sisters whose often fiery but affectionate relationship provided inspiration. “Devon calls Simone a stupid—” Fahy starts, and Alcock finishes, “—b*tch.” They laugh, noting how sisters’ bickering often sounds harsh but is full of love. “Simone doesn’t even flinch at the insult,” Fahy says. “That’s the beauty of sisterhood—nothing shocks you because you know each other so well.”
This dynamic gave their performances a grounded authenticity. Their characters’ love is messy, full of conflict and pain, but ultimately unbreakable. It’s a reminder that sisterhood isn’t just about sweetness—it’s about surviving together, flaws and all.
Power, class, and the mythology of monsters
Both actresses have worked on projects grappling with themes of wealth and power—Fahy with The White Lotus and The Perfect Couple, Alcock with House of the Dragon. They recognize that Sirens adds a fresh layer by focusing on women who are caught in the web of class systems without owning wealth themselves.
“None of these women really have their own money,” Alcock explains. “They’re introduced into a world of power that’s foreign and often cruel.” Fahy adds, “Devon can’t accept that her sister chose this life. It’s easier for her to villainize Kiki than to understand her.” The show also uses the word “monster” to describe these women—a term often weaponized by men to avoid accountability. Metzler reclaims the siren myth, painting these women not as seductresses to blame but as complex figures singing songs of pain and survival.
Fahy loves how the mythology is woven into the show’s visuals, from costumes to cinematography. Dresses become flowier and more ethereal as the story progresses, reflecting the siren’s allure and mystery. “Men move around them like they’re being pulled in, often without the women even realizing,” Fahy notes. The show cleverly captures this dynamic, especially in scenes of men chasing Devon along the beach, evoking the irresistible but dangerous siren call.
Running up and down the stairs: A metaphor for life
One memorable motif is the constant climbing and descending of stairs—both a literal and figurative symbol. Alcock’s character Simone runs up and down stairs repeatedly, a physical manifestation of her emotional journey.
“By the end, I ran more here than on Supergirl,” Alcock jokes, recalling how the running even cost her a toenail. But the stairs aren’t just exercise; they represent the struggle of moving through social hierarchies and trying to outrun one’s past. Fahy describes the running as symbolic: “It’s running from oneself.” This metaphor resonates deeply with both characters, who are haunted by their histories even as they fight to create better futures.
The power of being seen
A key element of Sirens is the character of Kiki, who seemingly has a supernatural ability to see and understand the pain others carry. This ability makes her both magnetic and enigmatic. Alcock reflects on why this is so appealing: “It’s human nature to want to be seen and understood.” Fahy agrees, adding, “Devon and Simone are starving for that kind of recognition, and Kiki gives it to them in a way no one else does.”
This dynamic complicates the relationships on screen—Kiki’s intentions are genuine, not manipulative, though Devon struggles to accept that care. It’s a nuanced portrayal of trauma, healing, and the power dynamics that can exist in caregiving relationships.
Letting go, holding on
The series closes on a bittersweet note with a poignant exchange between Devon and Simone. When Simone says, “If it doesn’t serve you, let it go,” Devon counters, “You didn’t serve me, and I didn’t let you go.” Fahy interprets this as Devon’s acceptance that she may never reconnect fully with her sister, but that their bond remains powerful. Alcock explains Simone’s denial, still hoping for a future together while realizing the painful truth. Their relationship embodies the grey area between self-protection and vulnerability—a theme the actresses discuss thoughtfully, acknowledging how boundaries can both heal and hurt.
Sirens is a deeply layered drama that blends dark humor, mythology, and raw emotional truths about women, class, and family. Through their candid conversation, Meghann Fahy and Milly Alcock reveal how their characters’ journeys reflect universal struggles for identity, connection, and healing. Their shared chemistry—like real sisters—brings to life a story that is as unsettling as it is compelling, proving that sometimes the hardest bonds are also the most essential.
