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Yahoo
25-05-2025
- Entertainment
- Yahoo
‘Sirens' Star Meghann Fahy Breaks Down the Show's Shocking Ending, That ‘Powerful' Last Scene With Julianne Moore and Her Hopes for a Season 2
SPOILER ALERT: This story discusses major plot developments from this season of 'Sirens,' now streaming on Netflix. Meghann Fahy is on a career hot streak, starring in buzzy series like 'The White Lotus' and 'The Perfect Couple' and films including 'Your Monster' and 'Drop.' Many of her characters are known for being perfectly coiffed, elegant women who are hiding secrets to keep up appearances. Yet Fahy lights up when discussing her new role on the series 'Sirens' — one that is completely against type. More from Variety Julianne Moore, Meghann Fahy and Milly Alcock Work in Harmony to Give Netflix Cult Dramedy 'Sirens' Its Hypnotic Hold: TV Review 'Maid' Creator Molly Smith Metzler Takes on Class in America Once Again With 'Sirens' as She Renews Netflix Deal (EXCLUSIVE) What's Coming to Netflix in May 2025 'Devon is one of my favorite characters I've ever played,' she says. 'There's something so liberating about her, because she is so relentlessly herself, regardless of her environment. She says what's on her mind, and doesn't think about how other people feel about that. Which is certainly not how I move through the world.' 'Sirens' — from 'Maids' creator Molly Smith Metzler — is the story of Fahy's Devon, a blue-collar woman caring for her increasingly ill father, Bruce (Bill Camp), who heads to a mysterious New England property to confront her sister, Simone (Milly Alcock). Simone is the dutiful personal assistant for an ultra-wealthy socialite named Michaela (Julianne Moore), whom Devon thinks might also be a murderous cult leader. Needless to say, when the outspoken, combat-booted Devon lands at the front door of Michaela's ultra-chic, pastel world, there is a battle of the wills. In key moments in the show, Devon and Michaela square off, as the two continually argue about who is closer to Simone, and debate whether she should head home to Buffalo to help take care of Bruce. Fahy says that she was blown away by her iconic scene partner's generosity in those moments. 'Having to call Julianne Moore some of the names that I call her on this show was the craziest experience I've ever had on a set,' she says. 'It was very surreal to just make eye contact with her, generally. But she's even better than you could imagine, and so grounded and generous and a true pro. I just did my best to follow her lead.' Despite their tête-à-têtes during the series, one of the final scenes shows both women taking a solemn ferry ride away from the estate, as Michaela's husband Peter (Kevin Bacon) abruptly dumps her for Simone. As both Devon and Michaela float away defeated, there is humility and understanding between them, far softer than in any of their previous interactions. 'That scene for me was very moving,' Fahy says. 'I loved that it was this moment where these two women were acknowledging that they misjudged the other and, in their own way, apologizing for it and wishing the other well on whatever their journey was going to be after that. It's such a powerful note for the show to end on, because I think there's a lot of misunderstanding happening on the show. It's one of the themes, and to see these women acknowledging that was powerful.' The grief both characters display when leaving Simone speaks to the connections Alcock was able to make with her fellow actors. Although the two sisters present completely differently — Devon is a hard-drinking shit-talker who uses sex transactionally, while Simone focuses on working hard, preppy outfits and her type-A drive — both personalities were developed as a result of serious trauma from when they were children. 'We did spend a bunch of time together, and it was an easy sisterly dynamic from the beginning,' Fahy says. 'I felt very protective of her, sort of naturally in the way that Devon does on the show too. At one point we filmed in New York, and I live there. So when she came to town, I couldn't wait to hang out. I was dragging her all around the place, and was always joking that I was the older sister who always wanted to hang out while she was like, 'I have plans in Williamsburg!'' This natural sisterly dynamic allowed for a flexible emotional canvas, which was helpful as the series' full plot was mysterious to the actors even as they started production. 'What was interesting was we were well into filming before we knew where it was going,' Fahy says. 'We didn't know how it was going to end. We had three blocks: We shot the first two episodes together, the second two episodes together, and then the final episode on its own. We had three different directors. So it was kind of an incredible reveal when we got the finale script and said, 'That's what happened!' 'I was so surprised to hear that Simone ends up with Peter, but the more I thought about it, the more I said, 'You know what? This feels realistic to me,'' she say. 'It makes sense to me that Simone would think, 'There's no way in hell am I going back to Buffalo. I will do anything that it takes to avoid that.' It also felt true to me that Devon would go home. There's a powerful moment when Devon says goodbye after Simone has already walked away, because that's her accepting the truth, accepting that her sister doesn't want to be home and isn't going to go home, and she might not know her anymore after this moment, and just being at peace with that. 'I think Devon goes back a really different person,' she continues. 'You see a huge evolution with her. And I do think that when she goes home, she won't drink anymore. I don't think she sees Ray [Josh Segarra] as Ray anymore. I like to think that she gets herself together a bit, and leaves with more self-respect than she arrived with. Even though she stays and ultimately is stuck taking care of Dad, she's actively made her choice now, and there is power in that for her.' Although the story of 'Sirens' feels complete — and is being marketed as a limited series by Netflix — Fahy says she'd be game to tell more stories in that universe. 'it ends in a very natural way, but I can imagine what the characters' worlds become,' she says. 'I, for one, would love to know what happens to Michaela, where she goes. So I think it's definitely within the realm of possibility. We didn't talk about it on set, but I would love to do more.' Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
Yahoo
25-05-2025
- Entertainment
- Yahoo
‘The Mastermind' Review: Josh O'Connor Is an Art Thief Hijacked by His Own Heist in Kelly Reichardt's Jazzy 1970s Throwback
When the jazzy, jittery opening of Kelly Reichardt's 'The Mastermind' begins with slow, vertically crawling title cards in Bauhaus-like font, you know you're about to be thrown back in cinematic time. Shot on film with the grainy warmth that evokes a sleepy 1970 New England municipality as much as it does actual movies from the '70s, 'The Mastermind' is Reichardt's version of a heist movie — meaning that the filmmaker hijacks conventions laid by filmmakers like Jean-Pierre Melville and Sidney Lumet for a spin that still retains her patient bent for long, luxuriating takes. Here, Josh O'Connor plays J.B. Mooney (what a name!), an art thief who falls down a hole of his own digging, as a poorly hatched job to rip off a series of Arthur Dove abstract paintings from a fictional Massachusetts museum sends his private and family lives careening out of his grasp. More from IndieWire These Cannes 2025 Prize Winners Will Inspire Oscar Campaigns Cowboys vs. Accountants: The Real World of International Production Financing | Future of Filmmaking Summit at Cannes 'The Mastermind' is more an aftermath-of-a-heist movie than one about the job's high-stakes particulars, though Reichardt captures them with breath-bating suspense in the film's first act. Reichardt, writing her own script, is more invested in the what-happens-after, the slow-drip comedown of J.B.'s catastrophic hubris in thinking he could carry out a grab-and-run robbery in such a small town. Especially when his father (Bill Camp, hilariously curmudgeonly as an old-guard type who sticks his nose up at modern art) is its local judge. The absorbing setup makes for Reichardt's purest genre exercise since her eco-terrorist caper 'Night Moves' (2013) or her slow-cinema anti-Western 'Meek's Cutoff' (2011) before that. Her observational approach doesn't always retrofit seamlessly to the genre scaffolding that surrounds it — a structure she will slowly work to topple and destroy as 'The Mastermind' grows more languorous — but the period-rich atmosphere she conjures with cinematographer Christopher Blauvelt and costumer Amy Roth makes for an intoxicating, transportive experience. And her composition and framing, and eye for 1970 in all its mustardy polyester and corduroy-browns and retro fuzziness, suggest the influence of her dear friend Todd Haynes more than ever, this time around. (Stalwart Reichardt DP Blauvelt also shot Haynes' 'May December.') Disheveled and charmingly louche in that unkempt early-'70s way, J.B. is an unemployed carpenter who lives in a sedate Massachusetts suburb with his working wife Terri (Alana Haim) and two boys (Sterling and Jasper Thompson, real-life fraternal twins). He's in perpetual debt to his moneyed parents (Hope Davis and Camp), and judging by their weekly ritual of a meat-and-mashed-potatoes dinner at mom and dad's house, he hasn't strayed far from the nest financially, geographically, or emotionally. It's 1970, and radio dispatches and television news relay fragmented context about the ongoing Vietnam War, placing an almost apocalyptic backdrop behind the film's core domestic narrative as violence seeps from afar into the everyday. A former art history student, J.B. lives a double life as a petty art thief, subtly purloining a small wooden artifact from the glass case of a Framingham Museum of Art gallery in the film's first scene, almost as a lark, a self-started dare to see if he can do it. That double life extends to covert basement huddles he hosts with his ragtag group of accomplices beneath the first floor of J.B. and Terri's single-story house (this includes actors Eli Gelb, Cole Doman, and Javion Allen), as he prepares for the next, bigger job. Reichardt doesn't at all explore the inner life of Terri, though Alana Haim (an established breakout actor after Paul Thomas Anderson plucked her from the music scene for his 'Licorice Pizza') cuts an alluring silhouette in rare moments onscreen — like a shot of her done up in hair curlers heading out to her car, or heard offscreen over a slyly sad, hushed phone call later in the film. What J.B. has planned next feels doomed from the start, and 'The Mastermind' is a study in doom from the start. He and his associates — who all get their own individual quirks and styling, courtesy of Roth and hair stylist Anna Maria Reyer — plan to steal a suite of paintings by Upstate New York artist Arthur Dove (whose abstract pastels were recreated for the film) from the Framingham in broad daylight. Reichardt stages the heist as a nail-biting montage, cutting from inside the museum where J.B.'s men set upon their robbery to within the gold '64 Chevy Nova J.B. waits in out front (Reichardt, as with her last seven films, does editing duties, too). Much of 'The Mastermind' is spent in cars, either stationary or on the move and the run, Blauvelt's camera placing us in the backseat or hoodside of the boxy vehicles that are scene stealers of their own. It all goes to shit, of course, especially once J.B.'s Black cohort Ronnie Gibson (Allen), nylon stocking now unsheathed from his face, pulls a gun on a potential witness out front of the museum. His fate as the scheme unravels and unwinds gets a mostly surface-level racial politics inquiry from Reichardt, and it's unsurprising when he's the first one to land in jail. Generally speaking, Reichardt's social commentary is only surface-scratching, the fractious Civil Rights dynamics and wartime unrest relegated to those TV news briefs, the protest posters papered on walls throughout town. That's perhaps to demonstrate how unaffected and unscathed that J.B., a comfortably middle-class white guy who comes from a comfortably middle-class family, is from all that noise of draft dodgers, dope fiends, and radical feminists banging on the door. Until he, of course, eventually isn't. The fallout of J.B.'s messy hijack is less airtight than its setup, with the cops on the horn and Terri catching scent of what's going on. 'The Mastermind' becomes a lonely existential man-on-the-run movie as J.B. sloppily covers his tracks and tries to disappear; a long take, though, of J.B. attempting to stow the paintings in a barn, dragging himself back home at dawn covered in pig slop, is among the most thrilling of Reichardt's career. She's flexing into genre mode while also pulling from her signature paintbox of taciturn character observation, as slow a burn as near-silent moments out of 'First Cow' or even 'Old Joy.' (Reichardt, too, brings her 'First Cow' actor John Magaro into the mix, in a role that feels more like a cameo than anything else.) There's also Rob Mazurek's Bill Evans-inspired jazz score to sink us even deeper into a movie that's all about capturing a mood, a vibe. Reichardt credits records from Sun Ra and John Coltrane as influences behind the trumpet-and-percussion thrum of the music, though the riffs of Miles Davis' ennui-and-smoke-drenched 'Elevator to the Gallows' score also come to mind, putting 'The Mastermind' more in conversation with midcentury art films than the American heist movies whose form Reichardt flouts. Which means that 'The Mastermind,' even with an effectively understated performance from in-demand actor O'Connor as a man trying to outwit his own unraveling, could be a tough sell for audiences outside of the core Reichardt cult. The film spins its wheels toward the end, even while landing on a hilariously macabre final image that feels ripped out of the most nihilistic of French arthouse classics. 'Everything I've done is for you and the kids,' J.B. tells Terri over the phone at one point, before pausing to add, 'And me.' 'The Mastermind' is a study in one man's selfishness, his compulsion toward crime as a thrill sport, toward daring himself to execute a challenge to shake up his own humdrum day-to-day schtick. In that sense, Reichardt has something in common with her antihero: She's challenged herself to execute a well-trodden shape and style of genre storytelling on her own terms, though she succeeds more than we know from frame one J.B. ever could. 'The Mastermind' premiered at the 2025 Cannes Film Festival. MUBI will release it in theaters later this year. Want to stay up to date on IndieWire's film and critical thoughts? to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. Best of IndieWire The 25 Best Alfred Hitchcock Movies, Ranked Every IndieWire TV Review from 2020, Ranked by Grade from Best to Worst
Forbes
23-05-2025
- Entertainment
- Forbes
Will There Be A ‘Sirens' Season 2 On Netflix? Here's The Latest News
Sirens. (L to R) Milly Alcock as Simone, Julianne Moore as Michaela in episode 101 of Sirens. Cr. ... More Courtesy of Netflix © 2025 Netflix's new dark drama Sirens has finally arrived, and the addicting Julianne Moore-led series has already skyrocketed to the No. 1 spot on the U.S. streaming charts. Now, many viewers are wondering whether there will be a Season 2 of Sirens, especially after the shocking ending, which opens the door to a new chapter for the Kells. Sirens follows a struggling young woman named Devon (Meghann Fahy), who is caring for her father, Bruce (Bill Camp), who is battling early-onset dementia. Frustrated with her life and living situation, she heads to a lavish New England estate where her sister, Simone (Milly Alcock), is working. She discovers that Simone is the personal assistant to an ultra-wealthy socialite named Michaela, also known as Kiki, played by Moore. Kiki is married to billionaire Peter (Kevin Bacon), who has an enormous amount of wealth and power. Kiki is in charge of running Peter's wildlife foundation, which rehabilitates animals on the brink of extinction. When Devon arrives, she becomes convinced that her sister's enigmatic boss is a creepy cult leader who may have murdered Peter's first wife, Jocelyn, based on rumors swirling around town. Over the course of five gripping episodes, Sirens delivers twists, turns, murder accusations, hidden romances, grief, and trauma (and that's just scratching the surface). The series also ends also ends with unexpected outcome for two of the main characters, leaving fans eager to know about the status of Season 2. Sirens. (L to R) Julianne Moore as Michaela, Kevin Bacon as Peter Kell in episode 105 of Sirens. Cr. ... More Macall Polay/Netflix © 2025 As of Friday, May 23, 2025, Netflix has not yet renewed Sirens for a second season. Although the show was billed as a limited series, that hasn't stopped the streamer from renewing similar projects (like Forever), especially if they perform well and viewers are eager to see what happens next. When asked by Glamour whether there will be a Season 2 of Sirens, showrunner Molly Smith Metzler gave a promising answer for fans. 'I just love this question because to me, it means that people love the characters, and that's the ultimate compliment. These characters are real people to me. I wrote the play [that Sirens is based on] 15 years ago,' she said. 'I've been thinking about them this whole time. I could write them until the day I die. I'd never say never, but could I do them justice in another season? I'd have to think about it.' With the growing interest in a second season, Metzler added that the fact so many people are asking about it is 'really encouraging.' She continued, 'Can we get [Netflix head] Ted Sarandos on the phone?" Warning: Spoilers for the ending of Sirens. Sirens. (L to R) Kevin Bacon as Peter Kell, Milly Alcock as Simone in episode 105 of Sirens. Cr. ... More Macall Polay/Netflix © 2025 The Sirens twist ending literally flips Simone and Michaela's roles. The former best friends are now estranged after Kiki sees a Vanity Fair photo of Simone kissing her husband, Peter. With Simone now threatening her marriage, Kiki fires her, even though Simone claims it was Peter who kissed her first. Peter's feelings for Simone, which were at first buried beneath the surface, emerge when Simone runs back to the mansion, terrified to return to the life she left behind with her neglectful father, who is now sick. Peter professes his love to her (which we don't see on screen), and Simone tells him that Michaela was hiding the photo of them kissing in a safe, potentially to blackmail him later. Kiki, believing the threat to her marriage is gone after sending Simone, her sister Devon, and their family back to Buffalo, is blindsided when Peter tells her she's the one who has to leave. He ends the relationship, and under the terms of the prenup she signed years ago, Kiki is left with almost nothing because she couldn't have children with him. She boards the ferry with Devon and their father. Devon apologizes for accusing Michaela of being a cult leader who killed Peter's ex-wife. She then asks if Michaela thinks Simone will be okay with Peter, and Michaela says that she doesn't know, adding that it took her husband 13 years to 'decide that I was a monster.' Devon reassures Kiki that she's not a monster, and Kiki replies, 'Neither is she,' referring to Simone, who is now taking over the life and foundation Kiki worked so hard to build. In the final scene of the limited series, Simone is poised to become the new Mrs. Kell. Like her former boss, she'll likely control the estate, at least to the extent that Peter allows, and she'll lead the Folger Wildlife Preservation Society. But that also means leaving a piece of her Buffalo roots and her dark past behind. Sirens. Julianne Moore as Michaela in episode 105 of Sirens. Cr. Courtesy of Netflix © 2025 There's plenty of material for Netflix to explore in a potential Season 2, including Simone's new life as Peter's partner and whether she'll cross paths again with Michaela, or even Jocelyn, who is living on a remote island after her botched plastic surgery. Devon could also return to Cliff Mansion, especially if Simone begins to exhibit the same cult-like behavior Kiki once did. Thankfully, Sirens could go in many different directions if the show is renewed for another season. Fahy, who plays Devon, agreed that there are more stories to tell in the Sirens universe. 'it ends in a very natural way, but I can imagine what the characters' worlds become,' she told Variety. 'I, for one, would love to know what happens to Michaela, where she goes. So I think it's definitely within the realm of possibility. We didn't talk about it on set, but I would love to do more.' Stay tuned for more updates on Sirens Season 2. Sirens is streaming on Netflix. Watch the official trailer below.
Yahoo
12-05-2025
- Entertainment
- Yahoo
Patrick Wilson, Elizabeth Marvel, Bill Camp, Molly Ringwald & More Join Dark Comedy ‘Thoughts And Prayers'
EXCLUSIVE: Writer-director Nitzan Bachar 'NB' Mager has set an impressive cast for her debut feature, Thoughts and Prayers. The roster includes Patrick Wilson (The Conjuring franchise), Margaret Cho (Fire Island), Elizabeth Marvel (Presumed Innocent), Alyssa Marvin (Trevor: The Musical), Yul Vazquez (Severance), Bill Camp (Zero Day), and Molly Ringwald (Feud: Capote vs. The Swans). Currently in post-production, Thoughts and Prayers is a dark comedy based on Mager's award-winning, Oscar-qualifying short film, Run Amok. The story follows a teenage girl who decides to stage a musical reenactment of a tragedy that took place at her high school 10 years ago. More from Deadline Tubi Greenlights YA Films Starring Xochitl Gomez, Chase Hudson & Asher Angel Andy Richter & Kevin Nash Join Indie Dramedy 'Caroline' From Morningstar Angeline Bill Camp, Rachel Hilson, Tyler Lofton & Rory Scovel Join Will Ferrell Comedy 'Judgment Day' From Amazon MGM Studios Julie Christeas, Founder and CEO of Tandem Pictures (Nuked, Black Bear), produced alongside Frank Hall Green (Gonzo Girl, Wildlike). Exec producers included Tom Franco, Allison Franco, Tad Selby, Derek Strum, Joav Bally, Jaykant R. Patel, Rama K. Penta, and Rajesh Penta. Mager's script was a quarterfinalist for the Academy Nicholl and FinalDraft Big Break prizes, and a second rounder for the Sundance Screenwriters Lab. For Brooklyn-based filmmaker Mager, recent works include Run Amok, which premiered as a Vimeo Staff Pick; Quarantine, I Love You, a web anthology series that took part in the Beyond Film program of the 2020 Sundance Film Festival; and a docu short on Gloria Steinem for her receipt of the John Jay Medal of Justice, for which Mager interviewed the late Supreme Court Justice Ruth Bader Ginsberg. Her short films have screened and garnered awards at film festivals across the country, as well as Gotham Film Week, and have won awards from the National Board of Review and New York Women in Film and Television. She is repped by Granderson Des Rochers. Wilson is repped by CAA, Anonymous Content, and Hansen, Jacobson, Teller; Cho by WME, manager Sarah J. Martin, and Fox Rothschild; Marvel by Innovative Artists, Viking Entertainment, and Franklin, Weinrib, Rudell & Vassallo; Marvin by Buchwald; Vazquez by Gersh and Untitled Entertainment; Camp by UTA and Franklin, Weinrib, Rudell & Vassallo; and Ringwald by Untitled Entertainment and Barking Dog Entertainment. Best of Deadline 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More Men of Steel: Every Actor Who Has Played Superman - Photo Gallery 'Michael' Cast: Who's Who In The Michael Jackson Biopic
