In Netflix’s limited series Sirens, creator Molly Smith Metzler describes seeing stars Julianne Moore, Meghann Fahy, and Milly Alcock bring to life characters she originally wrote in a play more than 15 years ago — which the show is adapted from — as both “dreamy” and “incredible.”

“These characters have been with me for over a decade,” Metzler says. “To show up on set and have them played by these three women — I mean, it was really pinch me.”

The show reimagines the mythology of sirens — those dangerously seductive women from Greek lore — not as villains but as complex individuals with stories of their own. Metzler was inspired in part by Margaret Atwood’s poem Siren Song, which challenges traditional notions of female monstrosity. “Why are they cast as monsters, and why do we cast women as monsters so easily?” she asks. “Especially the beautiful ones.”

That question becomes a central theme in Sirens, a show that leans into uncomfortable gray areas, especially around class and identity. “Are you monstrous for trying to change your class and where you come from?” Metzler asks. “Is ambition a monster?”

Originally a 90-minute stage play, the adaptation into a miniseries allowed Metzler to explore these questions in new and layered ways. “The play is in real time and in one room. It tells a tight story,” she explains. “With the show, we got to blow that up — bigger themes, a larger cast, and much more space to play.”

Among the most striking additions is the setting — a palatial home perched on a cliff in North Fork, Long Island. “That staircase you see? It’s real,” Metzler confirms. “The whole house helped us convey how exclusive this world is.”

Meghann Fahy as Devon and Milly Alcock as Simone in Sirens (Photo: Netflix)

The show’s visual opulence — sumptuous parties, towering architecture, and pastel-drenched wardrobes — was carefully constructed to evoke the feeling of being both invited in and simultaneously shut out.

That cultish feeling also plays out in the characters — especially Michaela, played by Moore. Her role, Metzler explains, could have easily gone too big or become caricatured, but Moore’s precision and gravitas grounded her. “Julie sets the tone of the work environment,” Metzler says. “She’s so professional, so generous, and the most prepared actor I’ve ever worked with. Michaela works because Julie played her.”

As for the literal sirens of the show — the birds of prey featured onscreen — Metzler admits they were “terrifying,” but that they seemed to bond deeply with Moore. “They were hypnotized by her. We were all terrified, but they were in love with her.”

Kevin Bacon also joined the cast in a role that didn’t exist in the original play. Metzler describes his character Peter as “the guy next door” who’s friendly with the staff and drinks beer from a can. “Kevin brought so much humanity to the role. It was a joy to write for him,” she says.

One surprising and personal touch that viewers might miss? The female vocals in the score are performed by Fahey. “She’s got this stunning Broadway voice,” Metzler reveals. “It’s Devon’s voice you’re hearing. That made the whole thing feel more intimate, more personal.”

Despite early awards buzz, Metzler is cautious about reading too much into the hype. “I try to just appreciate any attention and take the opportunity to sing the praises of this team. If the show’s good, it’s because of them.”