‘Sirens’ maker Molly Smith Metzler breaks series final.

Spoiler alert: This story contains spoilers From all five episodes of ‘Sirens’ now streams on Netflix.

Hey, hey! Starch your pastel colors and remove all your stressful texts – Molly Smith Metzler’s new Black Comedy series “Sirens” now streams on Netflix. Adapted from Metzler’s 2011 game ‘Elemeno Pea’, follows the Devon series (Meghann Fahy) A spiky, blue New Yorker who visits her sister Simone (Milly Alcock) on the Ritzy Nantucket-like estate that is owned by Simone’s glamorous boss, Michaela (Julian Moore).

Although Devon visits Michaela’s island to chew Simone because she only leaves her to take their aging father Bruce (Bill Camp), Devon is quickly suspicious of the strange, cult-like behavior in her sister’s new job.

While he dives the curious eyes of Michaela’s everything seeing house manager Jose (Felix Solis), Devon works to discover the truth about what is going on in Cliff House and why Simone (who gets the special privilege to call Michaela at the nickname “Kiki”) so attached to her mysterious boss.

In the course of a sweets -colored weekend, Devon discovers a filthy affair buried in Michaela and her husband Peter (Kevin Bacon) the mysterious past and races to free her sister from their claws before she is restricted in the coastelite forever.

Prior to the Netflix debut of the series, Variety Speaked with “Sirens” maker Metzler about the dark lines between Hero and Villain, the double meaning in the title of the show and why Uber-rich New Englanders are so obsessed with Lilly Pulitzer.

At the end of the series, Simone Michaela has replaced the food chain at the top, in a cycle reminiscent of how Michaela finished in the first place with Peter. How did you end up at that end?

I like that you feel so that it is cyclical. Part of it is intentional – this is an adjustment inspired by the sirens of Greek mythology, a story that is as old as time. We open the show with Julie’s shot on the cliff, and we close it with Simone. They are in the same place on the cliff, as the island that will always be there, and this story will continue.

There is something that felt whole and complete, because that is the surprise of it. That is the betrayal of this world, that is the fall. I also really wanted to turn the perspective. We often hear about the sirens from the Zeeman’s point of view, and this series is about what it means to be thrown into the role of a siren. I don’t think one of these women would voluntarily call themselves sirens, but they are all cast in this role.

Peter is such an integral piece of the puzzle of the “Sirens”. How did Kevin Bacon become involved in the series?

Casting Kevin was so easy. We had something like “you know who would be great as Peter? Kevin. Do you think he would do it?” And Kevin said yes. Peter is not in the play, so I made this role for the first time with Kevin Bacon. It was really fun.

He is the perfect godfather, because although he is Kevin Bacon and he is ‘foot file’, he is personally so warm and modest, a kind of working sphere. I thought that was great for Peter, because Peter’s power is so great, it is almost difficult to dramatize. I wanted him to feel that he was fighting against it all the time; He tries to disarm people and give away his power. I really wanted the audience to forget how much power he has; I wanted the audience to feel that Devon did: “This guy is cool.”

I also don’t know that I would call him the villain – I don’t know Kevin would also call him the villain. At the end, when he says: “I want love and family and goodness and I want my life to matter,” he really means those things. He feels that he was injured by a monster.

Kiki and Devon agree on the ferry that Simone is not a monster, but the last shot of her on the cliffs seems to imply differently. Do you think of Simone as a monster?

That is what I am interested in: how are they heroes and villains of their own stories? I am excited to hear the interpretations of people from the end. We have viewed so many different Takes of Simone on that cliff, and we went with the one with which we went because it has a bit of a Mona Lisa quality.

She is a bit smiling, a bit not, and it’s hard to know exactly what she feels at the time. I have my answer, but I think it’s great that we give the audience that question. Is it fair, the people we throw in the roles of ‘Monster’ in our lives? Are we villains? Are they? What really is a monster?

“Sirens” is based on your game “Eleno Pea”. What was it like to bring this story from the stage to the screen?

The piece is a game with five characters and 90 minutes that happens in one room. The five characters are Michaela, Simone, Devon, Ethan and Jose. I wrote a Bazillion years ago, but they have been to me all the time, they are also the core cast in this show. From there, everything else really changed. It is a five-hour mini series, we are never just in one room. The liveliness of this world: the cliff, the island, all those visual elements, it was extremely to be able to bring them to life.

Then there are the characters that we hear about, but do not meet each other in the piece: bringing in Peter was huge. Devon and Simone’s father we hear about in the play, but to let him come and be Bill Camp? There are so many things that we hear on stage, but don’t get to see, such as how many people worship Michaela. It is one thing to hear about it on stage, but we don’t get to see it personally. Everything became wider, deeper, more layered, more lush, more pastel, more cult.

What’s with all Lilly Pulitzer?

Simply put, I spent a summer in Martha’s Vineyard and I have spent some summer in Nantucket since then. My best friend has a house there, and it’s real. Lilly Pulitzer is real. They are wearing it all in Nantucket. Then there are the Nantucket Reds, the salmon color pants. The first time you see it, are you from: “Where am I?” It’s so clear. It’s a bit like, if you’ve been there, you’re joking, you know the pants to buy. A certain status is also needed to put on a dress like that Simone has one when we meet her.

It’s ridiculous. I love Lilly, I have some Lilly, but it’s a bit ridiculous. Something is so saturated and clear. We are so happy that Carolyn Duncan, our costume designer, took that and just ran with it – most things in the show that look like Lilly Pulitzer is actually customized.

Talk about Casting Simone. What were the most important qualities that you knew she had to have?

Simone is a very difficult role. Milly is such a fantastic actor – it was only she, once. What was important about Simone is that we [the audience] I can’t lead her. We have to ask ourselves, we must try to find her out. She can’t tell us everything. She has to break our hearts a bit.

To have this ability to contain secrets, but to keep them in and to have this facade with Michaela who is totally different from the relationship with her sister, to make all those signs run, that is quite a challenge. She is so precise when she turns certain cards in her performance.

A large part of Devon’s story revolves around the tension to take care of her father. What inspired that storyline?

By adjusting this story for 2025, there is a class gap in our country and the pay gap is simply bigger and bigger. Many people are in a position like Devon: you have older parents, and now it is suddenly your new job, but you have no money for it. It is a way for me to talk about my favorite subject, class and socio -economy.

There is also an expectation that you will not only continue – you will have your brothers and sisters. What happened to Simone when a child is terrible, and in her brain she is therefore released of something to do with her father. Is that fair? I don’t know, but I think that’s a great question between them, a big conflict. What do you owe the people you have raised? Can you change where you come from? Can you really go further and decide yourself from your parents and never go back?

Explain the double meaning behind the title of the series, ‘Sirens’.

These sisters have a code word – in the piece it is “Eleno Pea”, which is the name of the piece and there is a whole story behind why it is the code word. In the show, “Sirens” are their code word, it’s the ultimate “911, let everything fall, I need you.”

When I was writing the Greek mythology element and called the show ‘Sirens’ in the script, I let each other the Sirens emoji text. It came from a subconscious spot-misschien it is the word ‘sirens’ instead of the emoji, and then we get this beautiful double meaning. That never happens as a writer, but it is just merged and landed on my lap.

What is the origin of “Hey Hey”?

In my summer in Martha’s Vineyard, when I worked in the Yacht Club, I had noticed that they picked each other’s way to say things. A woman would come in with a new bracelet that just fell in the city, and then they would have it all.

They also did it with language, they had their own way of speaking and there was an infection. In my mind, Michaela just said it one day, and then Simone said it back, and it became something that the two say. I just made it up.

Why does Jose Michaela call “Mi Amor”?

That is in the piece. There are few things that are literally in the piece that reaches the series, but Jose calls Michaela “Mi Amor”, and who later transferred to someone else, that has always been there. I love Jose.

I wanted to keep it because it is a good memory that Jose has a lot of strength in this house. He sees and knows everything and says nothing. He knows where all bodies are buried. He is higher in the food chain than Michaela, even though it doesn’t seem that way if you meet them. There is also a touch of conducl to “Mi Amor”.

Lay the medals from all “sirens” wear. Do they use them to manipulate people? Are they full of drugs?

So the medallion – no, there are no medicines, but the medallion is really something on Nantucket Island. It is something that you can only buy in Nantucket, they are called bas chains, and they usually have ivory of Wales in it. But they are very expensive, they are handmade and everyone in Nantucket and Martha’s Vineyard is wearing them.

It is a status symbol. You are not in the club if you don’t have one. Carolyn Duncan made that possible, she all happened. It has arrived a great symbol of. You have the key, you have the necklace, but it’s a bit culty. It is a bit like wearing a cross, like a religion. You know something that everyone doesn’t.

During “Sirens” Michaela has a fascination for birds – she is in charge of the Folger Wildlife Preservation Society. Why are birds so important to her and the series?

When Homer describes Sirens for the first time, he describes them as a half-bird, half-woman. Eventually they became the sexualized mermaid thing over time, but their original representation was half-monster, half-wife. They are terrible, they are ugly – it is really interesting how it changed over time. So that is part of it, it is a nod to the original Greek mythology. The other part is that Michaela has filled her life with something for mother, something to give to. And I think she might consider herself a rare bird.

But they are also predators. They look very nice, but they will tear out your face and break your heart and come back and hit your window. They are not sweet. Sirens are not sweet. They are half predator.

This interview has been edited and condensed.