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‘Sirens’ review: A dark farce dressed up in pastel Lilly Pulitzer

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On Thursdays, you’ll find the unique show ‘Sirens’ streaming on Netflix. It’s a captivating blend of sophisticated concepts, personal familial conflicts, and a touch of dark comedy.

The story unfolds over the Labor Day weekend on an island off Cape Cod, populated by wealthy individuals who favor pastel and floral attire. It features Julianne Moore as Michaela, once a successful attorney who has since retired for a life with billionaire husband Peter (Kevin Bacon), focusing on rescuing birds of prey. She rules supreme, often speaking in dreamy proverbs, appearing in Vanity Fair, and arranging a charity gala among other leisure activities.

In Buffalo, we encounter Devon (played by Meghann Fahy), a working-class woman who’s more of a hot mess than usual, stepping out of a police station. She’s dressed in a short black dress and looks disheveled after a night in jail. Her mission is to find her sister, Simone (portrayed by Milly Alcock), who has taken up work as Michaela’s personal assistant. After an exhausting 17-hour journey, carrying for comedic effect, a massive edible arrangement that Simone had sent instead of helping in person, Devon will uncover a transformation in her sister. Simone no longer sports the matching tattoos they got together and appears to have undergone a nose job, presenting herself like a Disney version of Alice from “Wonderland,” without the natural curiosity. When Devon sees her, she comments, “You’re dressed like a doily.” Fans of Ingmar Bergman might recognize a nod to his film “Persona,” highlighting Devon’s observation that Simone loses herself in other people.

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In Simone’s case, she feels overjoyed about being able to call Michaela “Kiki,” a title she finds particularly significant. She diligently carries out Michaela’s unpredictable instructions to the staff, often represented by Felix Solis’ character, Jose. Interestingly, they share jokes through a private text chain about her. Despite her strong loyalty towards Michaela and viewing her as a best friend, Simone conceals her working-class background and her romantic involvement with Ethan, who happens to be Peter’s wealthy associate and neighbor.

Despite Michaela’s suspicions about his potential infidelity, Peter appears to be fundamentally kind-hearted, given his status as a billionaire hedge fund manager. He is amicable with the staff who served him before his marriage to Michaela (we can assume he has a former spouse and grown children not present in the narrative). Peter is self-sufficient, able to prepare meals for himself, and seeks solitude from the affluent crowd residing in the mansion’s tower. He spends his time in quiet moments strumming a guitar and indulging in a bit of marijuana. However, there seems to be room for unexpected revelations.

The term “Sirens” serves as a secret distress signal for the sisters, similar to SOS, but it’s more symbolic and connected to the mythological themes woven throughout the series. It might not be very practical, but it adds a hint of mystery rather than providing substantial meaning. The home AI system is named Zeus. An episode carries the title “Persephone,” after the goddess of the underworld and the dead; Simone is referred to as a goddess by Michaela, given her regal attire in flowing garments, while Devon suspects that something has changed in Simone, likening it to being in a cult: “You’re in a cult.

In ancient stories, it was the enchanting melodies of sirens that lured sailors towards their demise, and in this narrative, Michaela gazes out over the sea, contemplating the tragic fate of whaling boats striking the rocks below. (She has a keen interest in blood.) The series does include a sailor named Jordan (portrayed by Trevor Salter), who navigates Ethan’s yacht, but he seems unlikely to encounter any mishaps. The characters Cloe (played by Jenn Lyon), Lisa (Erin Neufer), and Astrid (Emily Borromeo) in the series echo the sirens with their harmonious speech and synchronized actions, yet they serve more as symbolic ideas or a humorous aside rather than significant contributors to the plot. The score of the show, composed by Michael Abels, incorporates a chorus of female voices, which might remind one of ancient Greek music, despite having no specific knowledge of what ancient Greek music would have sounded like.

At the heart of this series lies the conflict between Devon and Michaela over the influence on Simone, although there are additional conflicts that will determine the outcome of the war. As a spectator, it’s only natural to support Devon, who, after clashing with Michaela, infiltrates the mansion undercover, adhering to the house regulations while investigating. (There seems to be a hint of a murder mystery.) However chaotic she may appear, she is not pretentious; she displays enthusiasm, courage, and determination, and despite her mistakes, she lives in the world that most of us inhabit. (Just a heads up, I’m not a billionaire with a cliffside mansion, a raptor birdhouse, or a large staff to cater to my needs and whims, but if you are – thanks for tuning in!) This doesn’t mean that Michaela is without her own issues; on the contrary, her nurturing instincts, which manifest as caretaking, are similar to Devon’s. “I take care of everything within my sphere,” says Michaela, “regardless of size or nature, prey or predator.

As I sat down to watch “Sirens,” I didn’t realize it was adapted from the 2011 play “Elemeno Pea” by Molly Smith Metzler. Yet, as the story unfolded, it felt remarkably theatrical – characters like Bruce and Ray (played by Josh Segarra) seemed to keep pouring in, much like a stage production. The plot twists, the farcical build-up, and the surprise revelations in the final act all hinted at a playwright’s touch.

In just five episodes, this limited series maintains a remarkable level of focus compared to many others, although its tone occasionally changes. Some characters develop depth and complexity, which is generally positive, but at times, it can feel contrived. Certain plot points are intentionally set up for later developments. The ending left me feeling both content and frustrated, depending on the character perspective, but there were numerous compelling performances throughout, and I was thoroughly entertained more than halfway through.

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2025-05-22 10:31

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