Sirens Will Reel You In

by

The Netflix limited series titled Sirens offers unexpected delight, deviating from the conventional expectations one might have. Despite its narrative revolving around a cult-like, self-help focused group of predominantly white women engaging in similar activities, this show proves to be entertaining not due to its supernatural elements, avian fixations, or stereotypical class commentary. Instead, these storytelling aspects serve merely as supporting currents, almost dragging Sirens into a whirlpool of its own creation. The real charm lies in the intricate portrayal of contentious and damaged sisters. The characters played by Meghann Fahy and Milly Alcock deliver gritty performances that add an enticing and distinct flavor to the series.

Titled “Sirens,” this Netflix series shares a wealthy New England setting with another recent comedy, “The Perfect Couple.” It subtly explores profound themes such as how wealth can impact relationships, the potential suffocating effect of co-dependency, and the influence of family backgrounds. Julianne Moore delivers an exceptional performance as Michaela Kell, a billionaire wife whose character is fraught with anxiety over small details like her husband’s chocolate choice. Glenn Howerton skillfully transfers Dennis Reynolds’ eccentricities from “It’s Always Sunny in Philadelphia” into the role of a playboy, who is taken aback to learn that someone he knows had a foster care upbringing.

The portrayal of the one percent and their followers, including a trio of women who communicate in unison and favor coordinated outfits, adds an intriguing edge, preventing the show from veering into unwanted wealth fetishization. However, it truly shines as a domestic soap opera, chronicling the lives of two sisters who grew up in the same working-class home but took very different paths in their quest to escape their past. The most compelling moments occur when Devon (Fahy) and Simone (Alcock) confront each other, resulting in intense and poignant scenes of emotional conflict.

In a new series titled “Sirens,” playwright Molly Smith Metzler, known for her work on the 2021 Netflix show “Maid,” brings her 2011 play “Elemeno Pea” to life. The entire five-episode season debuts today.

The story revolves around Devon, a woman in her late thirties who is grappling with significant challenges. She’s caring for her father, Bruce (portrayed by Bill Camp), whose dementia is progressively worsening, and she’s caught in an on-again, off-again relationship with her boss, Ray (Josh Segarra), whom she has known since high school.

Devon’s life is a whirlwind of excessive drinking and casual relationships, and when she returns home from a night in the drunk tank to find a massive fruit bouquet on her doorstep, her remaining dignity crumbles. The bouquet, coincidentally delivered with an address for her estranged younger sister, Simone, who has been ignoring Devon’s increasingly desperate messages about their father’s deteriorating memory.

With the large fruit display in tow, a furious Devon embarks on a 17-hour public transit journey from Buffalo to the Cliff House mansion where Simone resides with her employer, Michaela. Devon hopes that confronting Simone face-to-face will help her understand the gravity of the situation and grant Devon some much-needed relief. The series cleverly employs the large fruit display as a setup for humor in this scenario.

As I stepped foot into Cliff House, it felt like Alice tumbling down the rabbit hole, just as disorienting for me. The film “Sirens” cleverly exploits its somewhat questionable premise – whether Michaela possesses unusual abilities – during Devon’s arrival, as she navigates a grand mansion where Simone clings to every word and command of “Kiki.” Moore has always had a knack for creating an eerie, unsettling atmosphere, and she amplifies it here, with Michaela cooing reassurances to the birds in her aviary or staring off the estate’s precipice, speaking seductively about “Moby-Dick” and the sailors who crashed on the rocks, alluding to blood.

As Devon becomes increasingly convinced that Simone is under Michaela’s control, she attempts to convince Simone to return home. This mission stirs up anger from Michaela, piques Peter’s curiosity, and leaves her would-be rescued sister in shock. These arguments serve as the narrative waves of “Sirens,” swerving through discussions on our obligations toward birth families, those who take a chance on us, and ourselves.

The show Sirens has a chatty nature, yet it cleverly weaves significant revelations about the lives of Devon, Simone, and Michaela amidst their back-and-forth banter, creating an intriguing narrative. While Michaela’s story arc seems predictable, being a wealthy woman struggling with her money and marriage, the series delves into the complex dynamics between Devon and Simone. These conflicts serve as decorative elements in the harmonious setting Kiki has crafted for her assistant, whom she treats as both daughter and lover, often blurring professional boundaries. A heated argument between Simone and Devon in Simone’s stylish bedroom, filled with her color-coordinated shoes and flamboyant dresses, feels like a battlefield within a Lilly Pulitzer boutique. The strained expressions on Simone’s face as Devon whispers complaints during one of Michaela’s speeches are poignantly highlighted by Fahy’s sharp “You’re the help” and Alcock’s desperate pleas of “These people are my friends.” Even the intense confrontation between the two sisters in the penultimate episode, which could appear repetitive due to its common editing style in streaming series, is enhanced. By allowing each sister to air decades-old resentments and jealousies while doing so, Sirens underscores the deep-rooted nature of their baggage and the depth of their wounds beneath their conventionally beautiful facades.

The primary attractions in this show are Alcock and Fahy, with Fahy standing out significantly. She’s currently starring in her third beach-themed series, and her role in Sirens allows for a more unrefined, humorous performance compared to both The White Lotus and The Perfect Couple. If we were still living in a romantic comedy era, she would undoubtedly excel in a remake of Miss Congeniality.

Their tense dynamic is reinforced by a strong ensemble cast of comedic actors. They expertly portray the absurdities of life under Michaela’s rule (eating donuts hidden behind a shed because carbs are forbidden on the property) as well as the distressing aspects (the somber atmosphere when Michaela isolates someone from her circle). Among this group, Felix Solis consistently steals scenes as Jose, Peter’s faithful employee, and one of the few who can challenge Michaela. Initially portrayed as a comic-relief class warrior criticizing Simone’s arrogance (he even has an anti-Simone group text with other staff members), he later evolves into a fatherly figure for Devon, encouraging her to sort out her life after she makes an imprudent advance towards him. In a series filled with problematic and troubled male characters, he might be the only one who still considers his moral compass.

The impact of the Sirens’ bite softens as the series shifts back to suspense, and its conclusion offers a fitting, if somewhat foreseeable, observation on how privilege preserves the existing order. What makes this resolution satisfying is that it illuminates the emotional layers mined in Alcock and Fahy’s sibling relationship and contradicts everything Simone and Devon have shared with each other – their confessions, promises, and the things they’ve struggled to express. Whether apart or together, they serve as the muses for Sirens.

Read More

2025-05-22 15:54