‘Sirens’ Review: Meghann Fahy, Milly Alcock and Julianne Moore Star in Netflix’s Erratic Slice of Affluence Porn

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In many ancient mythologies, women often receive unfair treatment, frequently portrayed as tragic victims or transformed into terrifying creatures unjustly for acts they didn’t perform. It’s almost surprising that even princesses and ordinary washerwomen suffer at the whims of capricious immortals – however, it’s important to note that “almost” progressive does not truly reflect a positive evolution in their representation.

Viewing Netflix’s latest five-part series, Sirens, offers a perspective where some nearly praiseworthy undertones can be discerned, yet it’s important to note that these admirable qualities are just on the edge of being realized. In this show filled with allusions, maintaining thematic harmony and a steady tone proves challenging.

Watching Netflix’s series Sirens provides a viewpoint where you might catch some almost worthy underlying messages, but they’re hard to find because the show is full of references and it’s tough for the story and mood to stay consistent.

Written by Molly Smith Metzler (of Maid), Sirens presents an eclectic mix that attempts to merge biting social satire, over-the-top melodrama, formulaic thriller aspects and extravagant displays of wealth. Initially, I admired the boldness with which Metzler combined these diverse elements, but as they failed to form a coherent narrative beyond mere superficial irony, my focus shifted primarily to the compelling yet underdeveloped cast.

The story opens as mysterious character Michaela Kell (played by Julianne Moore), stands on a cliff’s precipice, freeing a falcon high above, a scene that may remind some classically-minded viewers of the Sirens from Greek mythology – part human, part avian creatures known for their captivating songs which led sailors to shipwreck on rocky shores.

In the story, “Sirens” serves as a secret term used by sisters Devon (played by Meghann Fahy) and Simone (portrayed by Milly Alcock). They use this term primarily because it’s a literary device to signal an impending emergency.

In the storyline, it’s me, Devon, who’s been through a tough night and got released from a Buffalo jail. I’ve been desperately trying to reach Simone, yet she’s been unresponsive. The reason behind this urgency? Our father, Bruce, played brilliantly by Bill Camp, is battling early-onset dementia, and his health is deteriorating rapidly.

Over the years, I put my personal dreams on hold to support Simone after our mother’s untimely demise. However, I’ve reached a breaking point, feeling exhausted from carrying the burden alone.

Simone has departed to an exclusive island inhabited by the wealthy, similar to Martha’s Vineyard, the Hamptons, or the mythical Land of the Lotus Eaters. Here, she serves as an assistant to Michaela, a socialite, bird conservationist, and influential figure who has touched the lives of several women. As summer draws to a close, Michaela, wife of billionaire hedge fund manager Peter (portrayed by Kevin Bacon), is organizing a lavish charity event. Simone’s role involves creating challenges for the family’s staff members, including Jose (Felix Solis), the property manager, Patrice (Lauren Weedman), the head chef, and Missy (Britne Oldford), who seems to lack a defined job description.

Hey there, it’s me, Devon. Skipping a shower after my night in the slammer, I hopped on a bus and a ferry, all in the name of surprise-visiting Simone. What awaited me was nothing short of shocking – her Yale-educated sister had undergone a transformation, sporting new blonde hair, a new nose, and was now dating Glenn Howerton’s Ethan, a wealthy man who seemed age-inappropriate for her.

As a recovering alcoholic and a not-so-recovering sex addict, I couldn’t shake off the feeling that something wasn’t right. It crossed my mind that Simone might have joined a cult. Determined to unravel the truth, I embarked on a journey to expose several enigmatic secrets – like the fact that Peter had a missing first wife – and help Simone break free from whatever hold she seemed to be under.

As a devoted admirer, I can’t help but notice the abundant nods to mythology woven into the fabric of “Sirens.” From the house’s AI assistant named Zeus, to the recurring references to people as “monsters,” and the ominous reminders of sailors meeting their doom on the rocks at Michaela’s Cliff House, it all feels like a continuous retelling of ancient tales or perhaps a haunting dream.

The atmosphere that director Nicole Kassell masterfully creates is truly captivating. She bathes Moore in an ethereal, perpetual soft glow, while leaving Fahy under some of the toughest and most severe lighting imaginable. This contrast becomes even more striking when Devon receives a makeover sponsored by Michaela, leaving us stunned that Meghann Fahy looks just as we remember her – a testament to Kassell’s artistic vision.

The visual effect in this production gradually loses its impact as the show progresses. Michael Abels’ score also transitions from captivating to unremarkable. This is partly due to a deliberate choice – the boundary between fantasy and reality becomes less distinct. Furthermore, it appears that no one taking over from Kassell in directing shares the same passion for bringing out the grandeur of Metzler’s story, which is derived from her play Elemeno Pea.

Lately, there have been numerous shows that attempt to blend the real world with elements of fantasy, folklore, and even Biblical references – for example, Apple’s “The Changeling” and “Government Cheese”. I find this concept intriguing, but it often fails in its execution; mixing whimsy without establishing a consistent style can result in a show appearing unfinished or half-baked. Unfortunately, many elements of the series “Sirens” come across as half-baked.

In essence, I haven’t fully conveyed that the series Sirens, particularly at its humorous peaks, is indeed a comedy. The narrative unfolds by unveiling the marital rift between characters, as one character dramatically asks, “Aren’t you concerned about raptor preservation anymore?.” The story also features Michaela accompanied by a group of three followers who often speak synchronously and occasionally harmonize to the song “WAP”. There’s a scene where Devon is momentarily detained in a drunk tank alongside an exuberant former NXIVM member eager to share tales. Lastly, let me say that Howerton’s wardrobe is something else!

If the balance between tragic and satirical elements isn’t well-managed, it results in something monotonous or laborious to experience. Despite having an effectively concise five-hour runtime that left me feeling both relieved and contemplating if most parts of Sirens could have been more impactful as a 90-minute play without intervals.

Metzler skillfully combined sadness and humor in the series Maid, which served as a frequent critique of class issues, with moments of satire providing much-needed relief. However, it falls flat by offering only shallow caricatures instead of delving into a mystery that fails to engage emotionally. I believe a more substantial exploration of class critique could have been achieved if Sirens had aimed to provide a comprehensive upstairs/downstairs perspective. Despite the commendable efforts of supporting actors like Solis, Oldford and Weedman, only Solis manages to create a truly fleshed-out character.

The actor who most successfully captures the desired tone for the show is Fahy. She demonstrated her skill in depicting affluence-themed dramas during the second season of “The White Lotus,” where she stood out, and also in Netflix’s “The Perfect Couple,” which should not be confused with Hulu’s “Nine Perfect Strangers.” The latter features Nicole Kidman, a key figure in the genre. Interestingly, both shows are returning this week, but their proximity does not benefit either one, especially since Kidman could have played Julianne Moore’s role here, and Moore might be playing a character eerily similar to Kidman’s New Age cult leader, although under a different name. However, these comparisons do not detract from Fahy’s exceptional performance, where she delivers perfectly timed wry lines and elicits empathy for a character whose questionable decisions sometimes lack clear motivation.

In the series ‘Sirens’, Fahy doesn’t seem to connect with her hastily drawn romantic characters, Morgan (played by Trevor Salter) or Ray (portrayed by Josh Segarra), but the sibling rivalry between Devon and Simone appears authentic. Just like in ‘House of the Dragon‘, Alcock effortlessly transitions between radiant and shy, fitting for a character who gave up her own identity for temporary glamour. While we might hope to understand Simone’s true character after watching ‘Sirens’, it isn’t explicitly revealed, but I can see why this choice was made.

In this interpretation, the television series “Sirens” cleverly draws a comparison between the self-entitlement and insularity of modern American billionaires in the 21st century to the divine status of Ancient Greek Sirens. The show satirizes these wealthy individuals who host extravagant events as a means to either manipulate or charm their employees and playthings. Billionaire worship, exemplified by Bacon’s character, is further explored through his portrayal as an elite figure who occasionally indulges in casual activities like smoking marijuana or inviting staff for dinner, while never losing his air of detached coolness.

If you’re looking for a series that delves deeper into this modern allegory, you might want to explore the less polished but captivating show called “Kaos“. Unfortunately, it was ordered by Netflix, barely advertised, and then quickly cancelled. At least the series “Sirens” has a definite conclusion.

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2025-05-22 10:25