Fahy, Meghann

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    In ‘Sirens,’ Meghann Fahy Sounds the Alarm

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    “People underestimate melon,” the actress Meghann Fahy said. ”I don’t think they give it a chance.”Fahy was speaking on a drizzly morning in April, two weeks before her 35th birthday, in an Edible Arrangements outlet on Manhattan’s Upper East Side. In the first episode of “Sirens,” a Netflix limited series, Fahey’s character receives an arrangement, the deluxe Party Dipped Fruit Delight, which weighs as much as a toddler.“I dragged that arrangement around for weeks,” Fahy said. Now Fahy had come to make her own, a gesture that felt a little like homage, a little like revenge.With some help from the store’s owner, she set about crafting a more modest assemblage. She combined cut pineapple and melon balls to form daisies, then speared honeydew and cantaloupe onto plastic skewers above a kale base. “And that’s how she stabbed herself,” she said, narrating the activity. “Sad.”Meghann Fahy stars in “Sirens” as a protective sister with self-destructive tendencies and, in early scenes, an enormous fruit basket.Macall Polay/NetflixFahy knows what it’s like to be underestimated. She performed on Broadway as a teen in 2009 and then barely worked until 2016, when she landed a role on the go-getting Freeform show “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,” which premiered last month, and as a class-struggle chaos agent in “Sirens.” Created by Molly Smith Metzler (“Maid”), the series premieres on May 22.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘Drop’ Review: The Ultimate Doomscroll

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      A first date turns hellish when a terrified woman’s phone is cloned by an anonymous psycho in this stylishly silly thriller.Modernizing the paranoid templates of thrillers like Joel Schumacher’s “Phone Booth” (2003) and Wes Craven’s “Red Eye” (2005), “Drop” invites us to observe a disastrous dinner date with a potentially fatal dessert.The unsuspecting diners are Violet (Meghann Fahy), a widowed therapist with a traumatic past, and Henry (Brandon Sklenar), a hunky photographer with a debatable future. After three months of skittish texting, Violet has finally agreed to meet Henry in person at a luxury restaurant atop a Chicago skyscraper. And just as she’s overcoming her first-date jitters — and the dizzying view from their window table — her phone beeps: Someone is sending anonymous, increasingly menacing messages using an AirDrop-style app that only operates within 50 feet. It would be easier to identify the culprit if every one of their fellow diners were not also staring at their phones.Like a Jenga tower with half the pieces removed, Jillian Jacobs and Chris Roach’s wobbly script grows more preposterous by the minute. (Not least because no woman as cautious as Violet would be this careless with her phone’s privacy settings.) Which doesn’t mean that “Drop” isn’t fun: Park your left brain at the door and enjoy Ben Baudhuin’s snappy editing, Marc Spicer’s glowing, gliding images and the easy chemistry between the two leads. The mood might be more ick than eek, but Fahy is wickedly entertaining as a woman casting around for an escape from her online tormentor — if she fails to obey his commands, the sister and young son she left at home will be murdered — and charming the seemingly saintly Henry into finishing a date with someone he must believe to be at least a little nuts.While reprising the kicky, repetitive style that drove “Happy Death Day” in 2017 and, two years later, its less compelling sequel, the director Christopher Landon diverts us with visual gimmicks. Cell messages splay across the screen and inside a bathroom stall, and a shoal of brunette herrings swim through the movie. Apparently, almost every man in Chicago — including Violet’s date, her meter reader and a random encounter at the bar — sports brown hair and a beard. Just like her unidentified attacker in the film’s opening scene.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘The Unbreakable Boy’ Review: Surmounting Hardships With Joy

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      This family drama by Jon Gunn, based on a true story, is told from the perspective of a young boy with autism.The title character in “The Unbreakable Boy” is a whirlwind, a handful, a lot. Austin, an eighth grader with autism, is often in overdrive, whether he’s counting toys or rattling off the courtroom monologue from “A Few Good Men.” He also has a genetic brittle-bone disorder that frequently lands him in the emergency room. Crucially, though, these challenges never diminish his spirit. Played with exuberance by Jacob Laval, Austin is a disrupter and catalyst, a lesson in joyful mettle to everyone around him — especially his parents (Zachary Levi and Meghann Fahy).Jon Gunn, the writer-director and a practiced hand in the inspirational genre (“Ordinary Angels”), adapted the memoir by Scott LeRette, Austin’s father, but flipped the perspective to the boy’s. There are well-deployed bursts of kid’s-eye-view animation and humorous asides, but mainly the story, set in Oklahoma, dispenses its lessons in gratitude, self-forgiveness and sobriety with straightforward sincerity. Sometimes that works, and sometimes it lands with a thud.This is also the story of a marriage. As narrated by Austin and revealed in flashbacks, his parents’ courtship traveled an ultra-brief road from meet-cute to pregnancy, and Scott and Teresa didn’t so much fall in love as do the right thing. Raising Austin spurs them to grow up, although Scott, with his increasing dependence on alcohol, is clearly the laggard. Some might find it comforting that Scott has an imaginary friend (Drew Powell), a cross between a drinking buddy and a voice of conscience. Others will find it merely distracting.Fahy, as the more grounded parent, lends understated warmth to this pleasant but plodding family drama. Amid the gentle nods to churchgoing, 12-step programs and the Japanese art of kintsugi (the mending of broken items using precious metals that accentuate the cracks), “The Unbreakable Boy” could have benefited from a stronger infusion of Austin’s vitality.The Unbreakable BoyRated PG. Running time: 1 hour 49 minutes. In theaters. More

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      in Television

      ‘The Perfect Couple’ Offers Signe Sejlund’s Take on Nantucket Style

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      Scrutinizing the costumes in Netflix’s “The Perfect Couple.”“It’s not a documentary,” said Signe Sejlund, the costume designer for the Netflix limited series “The Perfect Couple.” “It’s a murder mystery.”Yet the compulsively watchable show is not merely a murder mystery. Set on Nantucket, a glorified sand dune 30 miles off the coast of Massachusetts — where superyachts bottleneck in the harbor every summer; the median home price has surpassed $3 million; and the guy in line at Something Natural, a favorite local sandwich stand, could well be a billionaire — the show is in some sense a travelogue offering a worm’s-eye view of rich people behaving appallingly. It is also a statement on our cultural fascination with the folkways of people with too much money to count.The series, adapted from a novel by Elin Hilderbrand, is a tale of “them” and “us.”Embodying “them” in this case is the fractious Winbury family: patriarch Tag (Liev Schreiber), matriarch Greer (Nicole Kidman) and their three sons. Everyone else is “us.”The Winburys have for generations vacationed at an oceanside mansion — putatively located in Monomoy, an enclave with some of Nantucket’s costliest real estate — among peers who attended the same private schools, belonged to the same country clubs and adopted the same form of garb that was once a tell for quiet wealth. Think modest A-line dresses; knotted-rope sailors’ bracelets; boat shoes so weathered they are patched together with duct tape; polos and T-shirts worn almost to transparency; and stiff Nantucket basket purses whose lids are topped with bone medallions incised like sailor’s scrimshaw.Signe Sejlund, the show’s costume designer, treated characters like Thomas Winbury (Jack Reynor) as “peacocks.”NetflixTag Winbury (Liev Schreiber) is from an old-money family that has for generations vacationed at an oceanside mansion on Nantucket.NetflixWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More