Julianne Moore, Meghann Fahy and Milly Alcock Work in Harmony to Give Netflix Cult Dramedy ‘Sirens’ Its Hypnotic Hold: TV Review

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Although it might appear unnecessary to commission another series featuring Meghann Fahy‘s portrayal of a troubled character, who is intimidated by a wealthy woman on a picturesque New England island, from the perspective of audience expansion, this may indeed be true. However, the limited series “Sirens,” with its blend of humor, surrealism, and emotional depth, manages to erase any memory of “The Perfect Couple” by the end of its entertaining summer escapade. The show’s unique mix of tones can sometimes be hard to swallow, but just like the mythical creatures that inspire its title, “Sirens,” particularly its stellar cast, exerts a compelling charm that draws you in and holds your attention throughout its swiftly paced five episodes.

The secret code word ‘Sirens’ is used by sisters Devon Fahy and Simone Milly Alcock, who now live apart following traumatic experiences in their childhood. When Devon’s cries for help are ignored except for an expensive Edible Arrangement, she becomes desperate and locates her sister at the luxurious Cliff House estate. It is here that Simone resides and serves as the devoted personal assistant to Michaela Kell, a former corporate lawyer turned socialite and bird conservatist who is also known as ‘Kiki’ among her close friends.

Written by playwright Molly Smith Metzler, “Sirens” is essentially a sequel to the television adaptation of Margaret Qualley’s memoir “Maid,” which was a popular streaming success in 2021. While both series share similarities in their characters, who are young women struggling with difficult pasts, they inhabit different worlds. Unlike “Maid,” which delves deeply into the harsh realities of American poverty, “Sirens” – adapted from Metzler’s play “Elemeno Pea,” first written over 14 years ago – has a whimsical quality that distinguishes it not just from its creator’s earlier work, but also from numerous series focusing on wealth and social class disparities that have emerged since shows like “Big Little Lies” and “The White Lotus.

As Devon steps onto the ferry headed for her sister’s workplace on an island reminiscent of upscale locations like Martha’s Vineyard, she finds herself enveloped by a sea of Lilly Pulitzer pastel attire, making the scene feel eerily Stepford-like. The Cliff House where Devon encounters Simone is not merely a mansion; it’s a wooden fortress, complete with its own lighthouse and precarious staircase leading to the beach below. Michaela, on the other hand, exudes an allure that transcends wealth or charm, drawing her followers into chants of Rachel Carson quotes while maintaining absolute power over Simone’s life, even dictating whom she dates. Without hesitation, Devon labels this setup a cult.

In this dreamlike setting, the ethereal ambiance suggests a touch of the mystical as well as a backdrop for Devon, dressed in all-black attire, to stride assertively with combat boots, eventually confronting Simone about her delicate appearance reminiscent of a lace doily. Meanwhile, evading their issues, Simone has sought solace within Michaela’s overprotective and dependent care – the duo conspiring to send an intimate message to Peter (Kevin Bacon), Simone’s husband who is distant and involved in hedge fund investments. In contrast, Devon remains at home in Buffalo, looking after their father Bruce (Bill Camp) who is battling dementia. The past burden of neglect towards Simone, which led her to foster care and created intricate knots of resentment and duty, has only grown heavier over the years as Bruce’s chronic negligence impacted Devon too.

Fahy is playing a role that’s somewhat different from her usual characters. Previously, she played comfortable and confident women in luxurious settings, such as a magazine staffer on “The Bold Type” or a contented trophy wife on “The White Lotus”. However, in this show, Devon, the character Fahy plays, is undercover as a follower of Michaela to keep an eye on Simone. This allows Fahy to portray a tension between Devon’s real and fake personas, which is enjoyable to watch. Alcock, the rising Australian star known for “House of the Dragon”, subtly reveals the flaws in Simone’s polished, athletic appearance. As Simone’s more honest, blunt self emerges in response to Devon’s provocations, it adds a raw edge to the scenes where they exchange accusations of abandonment, which contrast sharply with the rest of Michaela’s carefree atmosphere. Simone tells her boss, Kiki, that Simone makes her sad and she doesn’t want to feel sad in this environment.

In this series “Sirens,” both actors stand their ground alongside the legendary Moore, who despite critically acclaimed performances in shows like “Lisey’s Story” and “Mary & George,” hasn’t quite garnered the audience she deserves. The broad reach of Netflix and extravagant spending, even if it appears absurd, are evident in “Sirens,” providing Moore with her best opportunity yet to compete for the spotlight alongside actresses like Nicole Kidman and Reese Witherspoon, who have recently thrived on TV. Moore was shockingly overlooked for her role in 2023’s “May December,” and in “Sirens,” she attempts another portrayal of a woman fiercely guarding her seemingly perfect yet scandalous life. (Peter met Michaela while he was still married to his first wife, whose disappearance is the topic of local speculation.)

Despite maintaining an ambiguous atmosphere, “Sirens” distinctly portrays Michaela’s relationships with each sister, even though they are complex and hard to define. Her unusually close bond with Simone, who she occasionally shares a bed with, adds to the suspense, as it is not sexual in nature. The tension between Michaela and Devon is palpable, filled with animosity and insecurity on both sides. However, Peter and his relationship with Michaela, which implies her marriage to him, remain somewhat blurry. His casual, seemingly carefree demeanor contradicts the image of a powerful businessman; it appears designed to create a false sense of security for viewers, as well as for Devon and Simone. Unfortunately, this attempt at misdirection fails if it doesn’t seem genuine from the start. Peter seems to hinder the delicate process of transforming Michaela from a mysterious adversary into a real character.

Occasionally, the TV show “Sirens” can break its own spell. A recurring joke among the house staff about Simone’s bossy nature on a group chat leans towards the exaggerated, considering that characters like chef Patrice (Lauren Weedman) and house manager Jose (Felix Solis) are primarily comedic figures who lack Simone’s emotional depth. The Kells’ character development issues build up over time, resulting in their final scene carrying less impact than it could have if the couple seemed more realistic as individuals, similar to Devon and Simone. Overall, “Sirens” has too many abrupt changes in tone for all of them to be effective, but even when they work, these shifts create a distinctly unpredictable and captivating atmosphere. Despite its flaws, viewers may find themselves captivated by the series’ hypnotic allure. A siren’s song doesn’t have to be flawless to linger in your memory.

All five episodes of “Sirens” are now streaming on Netflix.

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2025-05-22 10:17