Sirens
Meghann Fahy hasn’t had much luck with her vacation-themed roles. In “The White Lotus,” she went to Sicily where her character faced marriage troubles and a series of murders occurred. In “The Perfect Couple,” her character was the one who got murdered, causing chaos at a Nantucket society wedding. Fahy’s latest role in “Sirens” seems reminiscent of this year’s “Perfect Couple.” Both are Netflix shows that feature big-name actors as wealthy individuals enjoying summer on exclusive New England islands. Each story sets a young, working-class heroine against the powerful, potentially sinister matriarch of the estate; this time, the iconic role played by Nicole Kidman is taken by Julianne Moore in a chilling portrayal. Although “Sirens” shows glimmers of ambition to rise above typical A-list crime dramas, its main allure lies in soap-like pleasures that are addictive.
The miniseries features Devon, portrayed by Fahy, who is depicted as a disillusioned character from Central Casting. She’s seen leaving a police station in black attire, combat boots, and smeared eyeliner. For the moment, let’s ignore the reason for her presence there. Devon has been burdened with caring for a father suffering from dementia (Bill Camp) in Buffalo. Recently, she’s reached her limit and seeks aid from her strained sister, Simone, who is known for her role in the series ‘House of the Dragon’, portrayed by Milly Alcock.
The issue lies with Simone, who deeply cherishes her role as Michaela (Moore)’s live-in aid and overly intimate confidante, despite Michaela being the dynamic yet demanding wife of a billionaire (Kevin Bacon), whose philanthropic foundation appears somewhat like a cult. The unexpected appearance of Devon on an island reminiscent of Lilly Pulitzer’s advertisements, marking the start of a busy Labor Day weekend filled with events leading up to Michaela’s grand annual gala, stirs up turmoil within the household.
The series “Sirens” is marketed as a witty dark comedy with an atmosphere reminiscent of Greek mythology. Occasionally, the presence of three adoring followers of Michaela who speak synchronously creates a peculiar, satirical ambiance. The ending seems to aim at criticizing the misogyny and materialism hidden in narratives like “The Perfect Couple”, rather than reinforcing them. However, Metzler often fails to deliver the sharp wit and eccentricity promised, resulting in an uneven tone. Fortunately, this inconsistency is overlooked due to a visually stunning setting, intricate plot twists, and captivating performances. These aspects make “Sirens” as engaging to watch as the shows it aims to critique, but not necessarily more insightful.
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2025-05-22 11:12