"Sirens", 2025

Bad Luck Island: a review of the mini-series “Sirens” with Julianne Moore

Cardboard social satire in the style of “White Lotus” and “The Stepford Wives”.

Capitalism feeds the population's craving for class struggle, especially if it can be comfortably observed from the outside. For example, in the format of the five-hour Netflix show “Sirens,” a product of a stale and vaguely reminiscent of all the popular dramedy shows of recent years, most notably “White Lotus.” Despite the strong cast, the number of topics announced in the show exceeds all allowed limits, but in the dry balance “Sirens” has almost nothing to add to the conversation about the torment of rich (and not so rich) white characters.

Devon (Megan Fahey) is trying to recover from alcoholism while caring for her father (Bill Camp) in the first stage of dementia. To ease her plight, the woman decides to enlist the help of her younger sister Simone (Millie Allcock). The girl has long been out of touch - she works as an assistant to billionaire Michaela (Julianne Moore) and enjoys a luxurious life in a prestigious estate. Devon decides to visit Simone in person and discovers the odd behavior of those around her. Her sister has had a nose job, is wearing pink, and is dating a lover twice her age. Michaela is like the head of a cult: she is obsessed with nature and birds, controls her husband (Kevin Bacon), and the attendants are forbidden to eat flour. Devon is convinced that her sister must be urgently rescued from the pernicious influence, but Simone herself is not at all eager to be rescued.

In five episodes, show creator Molly Smith-Metzler (“The Cleaner”) tries to build a full-fledged story that is dragged down by her own multilayered ambitions. Instead of a two-hour thriller, here they stretch viewer anticipation as far as possible, subjecting the elite to easy mockery, mixing in dysfunctional sorority relationships, Greek mythology, unfaithful husbands, domestic violence, and an abundance of trauma. The formulaic twists, the failed murders, the occasional quality humor - all of these elements are scattered in a chaotic construction where almost nothing is brought to life. Netflix, as the main generator of prestigious soap operas, becomes an ideal, non-binding platform (or rather a sandbox) for “Sirens”.

What pulls “Sirens” out of its semantic abyss is the acting. Fahey, who became famous for her supporting role in “White Lotus,” rightfully shines in the title role of a frustrated female rescuer whose help is needed by few (because it is only herself who needs saving). Allcock has seriously grown since the release of “House of the Dragon,” the British actress is in constant motion, confident in her American accent and adds to Simone's ambiguity. Finally, Moore, a frequent television peek (“Lizzie's Story,” last year's “Mary and George”), comes across as a delightfully campy villain whose influence is seriously shaken by the end of the series. “Sirens” does best with its moments of comedic madness, but otherwise the show feels like a tedious edifying experience: instead of five hours of binge-watching, spend five hours with a family therapist.

You can watch "Sirens" on Netflix.

This are article was sponsored by Henrik Ronne