Latest news with #Fahy
Irish Daily Mirror
4 days ago
- Sport
- Irish Daily Mirror
Galway star could miss Leinster final after being handed retrospective ban
Galway goalkeeper Darach Fahy is in danger of missing next weekend's Leinster Hurling final after being handed a retrospective one-match ban. The punishment has been handed down by the Central Competitions Control Committee (CCCC) for an incident that took place in the first-half of Galway's Leinster semi-final win over Dublin last weekend, an incident that wasn't dealt with by referee Colm Lyons at the time. Fahy's hurley made contact with the leg of Dublin star Andrew Jamieson-Murphy after the Galway goalie had handpassed the ball to a teammate. Galway GAA have been informed of the CCCC's decision and they have 24 hours to appeal against the ruling, which they are expected to do so. Fahy isn't the only player to have been handed a ban after the game, with Dublin's Conor Donohoe also being retrospectively punished by the CCCC. Donohoe was involved in an incident in the first-half, again not dealt with by the referee, that saw his hurl make contact with the neck of John Fleming as the Galway star attempted to get a shot away on goal. That one-match ban for Donohoe would see the Erin's Isle star miss Dublin's All-Ireland preliminary quarter-final clash against Kildare or Laois on the weekend of June 14/15. Like Galway, Dublin have one day to lodge an appeal against the decision.
Irish Examiner
4 days ago
- Sport
- Irish Examiner
Galway ‘keeper Fahy a Leinster final doubt as he is hit with retrospective ban
Galway goalkeeper Darach Fahy is at risk of missing Sunday week's Leinster SHC final against Kilkenny after receiving a retrospective one-match ban. Dublin's Conor Donohoe has also been issued with a recommended suspension arising from the counties's Leinster SHC final round game in Parnell Park last Sunday. The Erin's Isle man could miss the All-Ireland preliminary quarter-final against Joe McDonagh Cup winners, Kildare or Laois. The punishments have been proposed by the Central Competitions Control Committee (CCCC) for the first-half incidents not dealt with by referee Colm Lyons. Fahy made contact with his hurley against Andrew Jamieson-Murphy's leg after the Galway netminder passed the ball away. Donohoe caught John Fleming with his hurley around the neck as the Galway forward attempted to strike the ball towards the goal from close range. Both counties were informed of the CCCC's decisions in the last 24 hours and it is expected Galway will at least contest Fahy's ban in front of the Central Hearings Committee as there is further annoyance in the county with the disciplinary process. In the earlier round game against Offaly in Glenisk O'Connor Park, Galway were aggrieved that Daithí Burke was sent off while selector Aidan Harte was handed a four-week suspension for 'abusive language towards an official'. Galway had successfully contested the 'any type of physical interference with an Opposing Player/Team Official' charge brought against Harte but he was also served with the other infraction. Harte's penalty elapses before Sunday week's provincial decider. Speaking to Galway Bay FM earlier this month, Micheál Donoghue articulated Galway's stance. 'I think collectively from a management, players, county board we were really disappointed with that transpired in Tullamore. 'From our perspective, we viewed it as pretty shambolic, and something that we weren't happy with. Look, for us moving forward we'll be mindful in everything we do in similar circumstance.' There is also some consternation in hurling circles how no suspensions were issued from the row that followed the Ulster senior football final, although the Irish Examiner understands fines were issued to Armagh and Donegal.
Yahoo
23-05-2025
- Entertainment
- Yahoo
Meghann Fahy Compares ‘Sirens' to ‘White Lotus': 'Everyone's Obsessed With Wealth'
Meghann Fahy adds another high-society series to her résumé — but this time, she's not playing the wealthy one. In Netflix's upcoming series Sirens, created by Molly Smith Metzler (Maid), Fahy plays Devon, a character who comes from a poor upbringing in Buffalo and is spending the weekend on an island, living in luxury, but whose main focus is helping her sister Simone (Milly Alcock) leave her boss Michaela Kell (Julianne Moore), a dame of the island's high society. More from The Hollywood Reporter 'Sirens' Review: Meghann Fahy, Milly Alcock and Julianne Moore Star in Netflix's Erratic Slice of Affluence Porn Vince Vaughn: 'Nonnas' Is an "Outlaw Movie" Amid Changing Industry as Netflix Film Extends Hot Streak Tina Fey Explains That 'Four Seasons' Death and Teases "Starting From Scratch" for Season 2 When taking on this role, she skipped a phone call to Mike White, asking for any pointers. 'I think the character that I played in White Lotus of Daphne and Devon in this show, Sirens, are so polar opposite, in most ways,' she told The Hollywood Reporter of the characters at the premiere Tuesday. 'The one storyline that I could identify between those two women is just that they are underestimated. They are not what they appear to be at first glance, and they are misjudged for that.' In the second season of White's cultural phenomenon The White Lotus, which follows the privileged lives of vacationers staying at a luxury resort, Fahy's Daphne is married to financier Cameron (Theo James). And while the other characters assume she's superficial at first, she proves to be a lot more complex throughout the series as the dynamics with her husband are revealed. However, Fahy addressed the similarities between the shows' themes. 'Of course everyone's obsessed with wealth and dissecting it and making fun of it and all those things, so there's a lot of that happening these days,' she said. Even though every season of The White Lotus begins with a mystery death, by the end of the show, it could be easy to label who the show's villain is, but what unravels always makes it more complex than naming just one. And in Sirens, there's a lot to be said about the class system, too. 'Society is the real villain,' Alcock said. 'It's the pressures that these women have to upkeep. Not only these women, but these men.' Castmember Josh Segarra thinks the darker moments are because of 'greed' and 'everyone wanting more.' Meanwhile, Fahy, believes the show is all about 'perception and how we see people and how we misjudge people.' Sirens drops on Netflix on Thursday. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
Yahoo
23-05-2025
- Entertainment
- Yahoo
Netflix's Sirens Stars Meghann Fahy, Milly Alcock Talk Sisterhood, Trauma and That Neck-Licking Scene
MACALL POLAY/NETFLIX Netflix's Sirens stars Meghann Fahy (The White Lotus, The Bold Type) and Milly Alcock (House of the Dragon) finish each other's sentences like sisters — at times even talking over each other like sisters — even though they don't actually have any of their own. 'It made me want a sister,' Alcock tells Teen Vogue about the new limited series, sitting beside Fahy in their interview. Fahy smiles and gestures to herself, 'You got one, babe.' Sirens, created by Molly Smith Metzler (Maid, Shameless) and loosely based on her 2011 play Elemeno Pea, is about sisterhood, but it's also about class and how people with money wield that power. Across five episodes, viewers are transported to a Martha's Vineyard-type beach town where Simone (Alcock) plays the too-diligent assistant to lady of the house Michaela 'Kiki' Kell (played by Julianne Moore). Simone and KiKi consider each other best friends, even family, in a fairly toxic warping of their employee-employer relationship. When Simone's actual older sister Devon (Fahy) shows up out-of-the-blue and desperate for help taking care of their aging father, she's convinced KiKi is leading a cult. But the reality is murkier, as the show's characters reckon with what they owe to each other and the costs of upward social mobility. Below, Meghann Fahy and Milly Alcock unpack the twists and turns of Netflix's Sirens, chat sisterhood and survival, and even explain Devon's wild neck-licking scene. Warning: spoilers ahead. Milly Alcock: Oh my God, I forgot that. Meghann Fahy: I forgot about that too. Oh my God. I love that moment because it is so cringy and really funny, and then it immediately gets so sad. Alcock: It's so sad. Fahy: Which Molly [Smith Metzler] does so well, and that is one of the things that I was so excited about doing. I love those sort of hairpin turns between happy and sad. Look, Devon has a really unhealthy relationship with sex. She is struggling with that. When we meet her, she's on the ferry, she's like hanging out with that guy. I think that's an extension of her currency. [Gestures to Milly] It's like what you've said about Simone, what makes her feel valuable. They've both been traumatized so much in their lives as young girls, and now Devon especially is exhibiting some really self-destructive behavior as a result of that. She meets Jose and likes him, so she licks him. He's been really sweet to her, and I think that she takes that sweetness and tries to get something else out of it, like a salve. She's trying to self-soothe and she immediately realizes that she's made a mistake. But I do think that it was very, very impulsive of her. She's in the moment, got the idea to do it, and just did it. And then doesn't really give herself a second to think about it prior, which is something that she does a lot of in other ways too. Fahy: No. Alcock: No. Fahy: Well, my best friends are twin sisters. I've known them since I was 12, and I have heard them argue a lot, and I genuinely felt like I knew how to do that because I've witnessed them. Because Devon shows up on the steps and calls her sister a stupid— Alcock: —B*tch. Fahy: Within seconds. I was kind of like, yeah, I get that. I've heard my friends argue in this way. Alcock: And Simone doesn't flinch. She's like, well, okay. That insult is so weightless because of the way that they bicker constantly. Fahy: Totally. It's like, nothing shocks your sister. Alcock: I think that this show kind of puts at the forefront two people who are from disadvantaged backgrounds — actually, all three women don't really have any of their own money if you think about it — and [explores] the way that they've been introduced into this kind of class system and this power system and the way that they give back or don't give back, and their relationship that they have with themselves and other women. Michaela's actually really giving, and Devon doesn't really want to see that because I think, too, like, we want to hate rich people. You know what I mean? You do. Fahy: Totally. Alcock: You have that dislike. Fahy: Also, I think Devon is very unwilling to accept that her sister would choose this life instead of being a part of her life. So she villainizes her in that way, like right off the bat. Alcock: It was Molly's kind of call back to sirens, like the Greek mythology of sirens and the way that these women were vilified and called these monsters because they were there to seduce the men. And Molly has kind of spoken about it today, that she wanted to use the blueprint of sirens and put the women at the forefront of that and be like, what are these women singing about? Is it a cry for help? Is it a song? Who is really the monster here? Fahy: I loved the way that the siren through line was sort of weaved throughout the show and how that was reflected in imagery or a piece of clothing, like costumes and stuff like that. And I loved that sort of throughout the series, the dresses become flowier and like— Alcock: —the lenses they used. Fahy: —a little bit more ethereal, and it turns more and more down that sort of path of the mythology and the mystery that surrounds these women and the way that the men kind of move around them like they're being pulled towards them without the women even really necessarily being aware of that. They did a really, really funny job of doing that with Devon, like when Ray comes to town and Morgan too, like all of them sort of running after her on the beach and Eddy, the lawn guy. They do these really fun imagery of the siren call that I do think is really cool. Alcock: So much running. Alcock: So much running. Dude, I ran more on this than I did in Supergirl. Fahy: Really? Well, you were flying in Supergirl. Alcock: I lost a toenail, because I wasn't wearing actual sneakers. I was wearing Espadrilles, and my toenail just— Fahy: —said, nope. Alcock: Just said goodbye. Fahy: No more. Alcock: I remember going up to someone because I had open-toed shoes one day, and I was like, "My nail is on its last limb. We need to make sure that we don't see this in the shot because it's disappeared." So there was a lot of running, but I think that the running is also- Fahy: —running from oneself. Alcock: Exactly. You stole the words out of my mouth Meghann, but yeah, the symbol of running and you can't outrun your past. Those stairs, there's a lot of stairs, going up and down those stairs. Last summer was quite a workout. Yeah. Alcock: It's just human nature. Fahy: Yeah. I think it's sort of like yeah, everybody is sort of born wanting to be seen and known and— Alcock: —accepted. Fahy: These two girls especially are in a deficit of that. And so I think Kiki's sort of actual superpower is her ability to see and understand the pain that these girls are carrying around with them. And it's really cool to see her kind of do that with Devon, who is the most averse to it. And even Devon kind of succumbs to it because it's true. Kiki is reading her like a book in a lot of ways, and so I think it's very disarming to Devon, but it feels really good because no one has ever done that. You know what I mean? No one has said, I see your pain. You're trying so hard. No one has said that to her. It's so powerful. And same for Simone. Alcock: And I don't think it's malicious as well. I don't think that Kiki's intention is to manipulate. I genuinely think that she's trying to care— Fahy: 100%. Alcock: —for these girls. That's really hard for Devon to accept until she gets sirened. Fahy: I think that Devon leaves thinking and accepting that she might not see her sister again. But they're letting each other go with so much love. I think Devon arrived at that a little bit before Simone. I don't think that when they say goodbye, Simone has necessarily arrived in that space yet. Alcock: She hasn't. She's arriving kind of. Fahy: She's still like, well, we're going to see each other and we're going to get pedicures, and I'm going to hang out with you. And it's like- Alcock: But I do think she's, as she's saying it, she is realizing that oh my God, this is never going to happen. Fahy: And I'm doing this anyway. I'm still going. Alcock: She's still pretending. She's such a broken girl, and she's still trying to play and be like, this is fine. This is happening. And I think that that scene for me was so heartbreaking to play because it's like she's kind of yeah, she's coming to the realization that like, oh my God, you're never going to show up. We can't pretend. We can't really go back. Fahy: We really need each other. Alcock: We really need each other. Fahy: They could heal each other together because they're the only two people in the world who know- Alcock: —what's happened. Fahy: What any of the stuff that they're suffering from was. So it's innately a very lonely experience for both of them to not be closely connected. Alcock: But that was one of my favorites. That was also our last day shooting together. Which, it was so sad. Alcock: I feel like relationships inherently, you have to sacrifice a bit. You know what I mean? You have to be willing to break down certain potential boundaries for certain people, and those boundaries can come back up, they can go back down depending on where somebody's at and where you're at. But I think that ultimately it has to be a push and pull. It can't be a one-way street, a friendship or a relationship. And it will change as you change and they change, but I think that ultimately sometimes you have to do a bad thing to do a good thing. Fahy: But it's interesting though, what tips a boundary over into a lack of accountability in a situation. Alcock: Well, it depends on the circumstance though, I think. Fahy: Of course. But it's such a gray area. I think it all boils down to whether or not your intentions are pure, or if they're manipulative, then obviously you're just kind of... I don't know what I would really say that [line] is. Interesting… interesting, interesting. Alcock: But I feel you have to earn that trust though. Fahy: What do you think it is [Claire]? Alcock: Yeah, what do you think it is? Alcock: Yeah. Fahy: Yeah. Fahy: On that sad note. Alcock: See you later. Fahy: So glad you brought up the neck lick. I totally forgot about it. Originally Appeared on Teen Vogue Want more great Culture stories from Teen Vogue? Check these out: Underneath Chappell Roan's Hannah Montana Wig? A Pop Star for the Ages Is Your New Favorite Song Real or AI? Bridgerton Showrunner Clarifies Benedict's Sexuality & Talks Francesca's Queer Plot Twist The Borders of Country Music Are Finally Crumbling
The Age
22-05-2025
- Entertainment
- The Age
Meghann Fahy always had a wild side. The White Lotus unleashed it
People underestimate melon, says actor Meghann Fahy. 'I don't think they give it a chance.' It's a drizzly morning in April, two weeks before her 35th birthday, and Fahy is speaking in an Edible Arrangements outlet in Manhattan. In the first episode of Sirens, a Netflix limited series, Fahy's character receives an arrangement, the Delicious Party, which weighs as much as a toddler. 'I dragged that arrangement around for weeks,' Fahy says. Now she has come to make her own, a gesture that feels a little like homage, a little like revenge. Fahy knows what it's like to be underestimated. She performed on Broadway as a teenager in 2009 and then barely worked until 2016, when she landed a role on The Bold Type, the rare series that makes a career in journalism look fun. She didn't properly break out until 2022, in an Emmy-nominated turn in the second season of HBO's The White Lotus. This year, she has her first proper leads, as an imperiled single mother in the date-night thriller, Drop, and as a class-struggle chaos agent in Sirens. Created by Molly Smith Metzler (Maid), the series premieres on May 22. In performance, Fahy typically offers bright emotional colours on the surface and darker ones below. Her mellow prettiness is complicated by a few hard edges, and she tends to leaven the sweetness of her roles with a streak of something wild, almost anarchic. 'She's likeable and very winning and sunny, but she also has this mischievousness,' says White Lotus creator Mike White. 'She has a bit of a naughty quality in this nice container.' Even now, with two lead roles completed and more to come — starring opposite Rose Byrne in an upcoming Peacock series, The Good Daughter, and leading an upmarket film thriller, Banquet — Fahy doesn't really feel she has arrived. She spent too long being overlooked for that. She claims not to mind it. 'I like the underdog thing,' she says. As a child in western Massachusetts, Fahy sang. She was paralysingly shy, and the hours leading up to a performance were excruciating. But on stage, she could give herself over to the song, a feeling she describes as addictive. In high school, she told her mother that she wanted to pursue acting but she might need some help being brave about it. When her mother learned about an open call for Broadway singers, she took her daughter to New York. Although she panicked the night before, Fahy made it to the audition. She was cast as the understudy in the Broadway musical, Next to Normal, and spent her late teens backstage, hoping and not hoping that her friend and roommate, actor Jennifer Damiano, would have to call in sick. Fahy eventually replaced Damiano as Natalie, the troubled daughter of a bipolar mother. Then the show closed, and Fahy's community evaporated. She scrambled. She hostessed; she nannied; she auditioned, fruitlessly. 'I went through big phases of just being really, really low,' Fahy says. But she never considered abandoning acting. 'Even when I was depressed and broke, I still knew I wanted to be here, and I wanted to keep going.' In those years, she developed what she describes as a 'go with the flow' attitude, cultivated partly out of inclination and mostly out of necessity, so she could find peace when she wasn't working. She was helped by what she described as 'a deep, deep, deep knowing' that her career would eventually resolve. And it did. In 2016, she was cast in the pilot for The Bold Type, an ensemble dramedy about three friends climbing the masthead of a Cosmopolitan -adjacent magazine. Loading If the show's viewers were passionate, they were also relatively few, and Fahy could live her life more or less anonymously. That changed with The White Lotus. In season two, Fahy played Daphne, the dippy-like-a-fox wife to Theo James' Cameron. But she somehow brought heart and savvy to the part of an oblivious homemaker who can't remember if she voted. Her Daphne was a realist, a hedonist and, like Fahy, a great hang. White says that her work in front of the camera felt effortless, even mysterious. 'She has the quality that every actor wants: You really like her, but she's elusive,' he explains. 'You want more.' Fahy describes her months on The White Lotus as 'nothing short of spectacular'. She loved the hotel, she loved the surrounding towns, and very quickly, she loved her co-star, English actor Leo Woodall, who plays an increasingly sweaty grifter. 'Can you imagine going and having the best experience in the world professionally and also falling in love?' she says. They didn't share any scenes, and Fahy hadn't seen his previous work. Once the show aired, she finally saw him act. 'I was like, 'Oh, my boyfriend's really good',' she says. They now share a home in Brooklyn. Her Sirens character, Devon, is all vulnerability, even as she cracks wise and wears enough eyeliner for an entire emo band. When her father receives a diagnosis of early onset dementia and her sister (Milly Alcock) sends a compensatory fruit bouquet, Devon hauls said bouquet to a Nantucket-like island, where the sister is a live-in assistant for a steely philanthropist (Julianne Moore), to confront her. Devon is a fish out of rarefied water. Fahy responded to that, partly because she has rarely felt like the perfect fit for any part — not quite the sexpot, not exactly the airhead, not precisely the girl next door. (She wasn't even the first choice for Devon; other actors declined the role.) She admired Devon's bravery, her tenacity, her willingness to put her few self-destructive behaviours on pause to better advocate for her sister. You can see that in the first episode, when Devon, a black hole in a sea of pastels, clutching the ottoman-size arrangement of unrefrigerated fruit, debarks from the ferry. Her face conveys anger, fear, sorrow, resilience and curiosity. 'It's hard to imagine that she was ever not the star that she is,' says Nicole Kassell, who directed the first two episodes of Sirens. It seems unlikely that anyone will underestimate Fahy much longer.
