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The Hindu
15 hours ago
- Entertainment
- The Hindu
Genre-fluid ‘Sirens' on Netflix explores varied, complex themes
The complexities of human beings are portrayed in Sirens, where Julianne Moore, Meghann Fahy, and Milly Alcock entrap us in Netflix's limited series. It starts off as a dark comedy, but immerses the viewer by making us believe it could be a mystery, but ends up as a psychological group portrait of the complex characters. The series is set in a beach estate owned by socialite Michaela Kell aka Kiki, played by Moore, and her billionaire husband Peter Kell, played by Kevin Bacon. Having felt that it might be just another drama when it started, it turned out to be a psychological mystery, which was unsettling at first but became a bingeworthy show with good visual appeal. Kiki (Julianne Moore) lures Simone DeWitt, played by Milly Alcock, into her coastal estate to work for her. Meghann Fahy as Devon DeWitt is determined to get her sister Simone out and escape from Kiki's controlling bond and to get her help in taking care of their aging father. Devon thinks her sister Simone has a creepy relationship with her new boss Kiki, a philanthropist and animal activist who runs the island's high society. The series is told over the course of a weekend at a beach estate. The show shows how a powerful figure can be villainized by society but the reality might be far from it. Three different kinds of women are captivating in this melodramatic dramedy. Kiki is suggested to have a magical ability to draw people to her. Simone seems to be the good-natured kid who gets allured by a wealthy lifestyle. Devon is the next-door girl who just needs a break. But who would emerge at the top? One would assume that Devon will, but the ending showed otherwise. Each one emerges from their trauma in different ways. Each character had layers that unfolded as the story progressed. In Greek mythology, sirens are enchanting creatures known for their irresistible voices that lured sailors to their demise. Here, though, a viewer would assume Kiki is the siren. But like how everything has an end, Kiki faces her end as well. It might be better to watch the show to see who emerges into the new siren. Creator and writer Molly Smith Metzler explore varied themes in this dark comedy, which is adapted from Metzler's play Elemeno Pea. Each character parts ways in three different directions, like how the Greek God Poseidon's three-pronged trident could create storms, earthquakes and control the sea. When someone is drawn to a certain magnetism, they get immersed in the new world. They reflect upon what's in front of them and act accordingly. Kiki's twist in the end, Simone's emergence and Devon's final acceptance shows that each one needs to forge their own path. If a psychotherapist watches this, they'd enjoy how each character transforms into personalities that their subconscious minds would idolize. Sirens is currently streaming on Netflix.
Mint
14-06-2025
- Entertainment
- Mint
‘Sirens': A study in class and bad parenting
In Greek mythology, sirens were believed to be enchantresses, who, with their sinister gift of song, lured sailors to their doom. The idea finds a delicious, comic and dark reincarnation in the recent Netflix series, Sirens, starring Julianne Moore in the top billing. Set in the filthy rich environs of New England, the show depicts the changing fortunes of Michaela Kell (Moore), the second wife of the hedge-fund billionaire Peter (Kevin Bacon). Right from the word go, there is a hint of Mrs de Winters (from Daphne du Maurier's 1938 novel Rebecca) about Michaela. The Rebecca angle gets subtly, but surely, played along the course of five tightly written episodes by Molly Smith Metzler, based on Elemeno Pea, her 2011 play. If you haven't watched the series yet, you're probably already thinking of The White Lotus (2021; streaming on JioHotstar) or The Perfect Couple (2024; Netflix), both of which cover similar ground. Which is mostly fair since, despite all its woo-woo-ness, Sirens does have a suffocatingly thick air of suspense about it. The troubled sister dynamics between Devon (Meghann Fahy, The White Lotus) and Simone (Milly Alcock), leading back to a childhood scarred by terrible parenting, not only provides fodder for an engaging psychological thriller but also for a clash of the classes. It all starts with Devon setting off in search of her sister, who has ghosted her for months, and ignored her pleas to help take care of their father Bruce (Bill Camp gives a chillingly real performance), who is suffering from dementia. When Simone sends her an edible arrangement instead of volunteering to do her part, Devon is enraged. Her life is already a wreck. A recovering alcoholic, she is sleeping with her college friend-turned-boss Raymond, who is married with kids. After being locked up by the police multiple times for unruly behaviour, Devon has nothing to lose. So, she arrives on Michaela's island uninvited, only to be horrified by the web into which her little sister has got herself entangled. Roxana Hadidi, in Vulture, accurately described Sirens as 'a series about culty, self-help-y, extremely white women doing culty self-help-y extremely white women things." Michaela, for instance, not only follows a strict regimen of diet and exercise but also ensures that no one under her watch strays from the path of clean eating. There's a hilarious scene where the staff scarf on burgers, hidden away from the CCTV cameras, because carbs are forbidden by Michaela. Yet under the veneer of all the absurdity and tyranny of Michaela's rule, lurks a profoundly disturbing truth—her pathological insecurity and will to do anything to protect her place in Peter's life. During the day, Michaela spends her time rescuing and rehabilitating raptors. At night, she is wide awake wondering if her husband is cheating on her. With Simone's help, she does some serious sleuthing to check if the chocolates brought by him for her are really from his trip to Tokyo, or subbed from an outlet in New York. The answers to this investigation turn out to be at once simple and complicated. Setting aside the laughs and thrills, Sirens offers a scathing indictment of poor parenting. Whether it's Bruce's treatment of Simone as a little girl, or Peter's neglect of his children from his first wife, there are layers here that would give a therapist a field day. One of the more difficult questions that Sirens deals with is caregiving, especially when parents have been cruel and uncaring to their offspring when they were young but, in the winter of their lives, they need to be looked after by those very children. Devon's insistence on Simone doing her bit for the father whose neglect had led her to grow up, abused and humiliated, in foster care is a thorny point of contention. At once triggering and an inescapable reality, it's a question that haunts the viewer well beyond the series. The ending is clever and leaves room for a second season. Given the amount of speculation and theories that the series has inspired on social media—check out the Reddit threads after you've seen it—hopefully there's more trickery by the sirens awaiting us. 'Sirens' is streaming on Netflix. Also read: Is the Sonos Arc Ultra soundbar worth its price tag?
IOL News
09-06-2025
- Entertainment
- IOL News
Milly Alcock and Julianne Moore are spellbinding in the gripping dark comedy 'Sirens'
Milly Alcock as Simone and Julianne Moore as Michaela in 'Sirens'. Image: Cr. Courtesy of Netflix © 2025 I recently found myself utterly charmed by "Sirens" on Netflix, a darkly comedic gem boasting an exceptional cast. If you haven't seen it yet, what are you waiting for? Besides the first-rate acting and skilful direction, I was thoroughly bowled over by the well-etched characters. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ Curious? Here's a breakdown for you. The five-part series, which is created by Molly Smith Metzler and is based on her 'Elemeno Pea' 2011 play, takes place at Cliff House, a remote, affluent estate on the island of Port Haven. Simone DeWitt (Milly Alcock) is living her best life as Michaela "Kiki" Kell's (Julianne Moore) personal assistant. But their bond transcends professional boundaries. They are kindred spirits of perfection, joined at the hip. Simone lives to please Kiki, who, in return, is very protective of Simone. Although Kiki, a former lawyer and second wife to billionaire Peter Kell (Kevin Bacon) loves her protégée, who is always at her beck and call, the staff at the estate feel differently. They find Simone's condescending attitude and irrational commands offensive. Meanwhile, Simone's sister Devon (Meghann Fahy), who has been caring for their ailing father Bruce (Bill Camp), who has early-onset dementia, learns about her whereabouts and shows up to 'save' her. Devon believes Simone is in some sort of cult. Of course, her arrival couldn't come at a worse time for Simone, who is busy planning a 'Vanity Fair' photoshoot focused on Kiki's bird sanctuary, followed by a lavish bird funeral. Meghann Fahy as Devon and Milly Alcock as Simone in 'Sirens'. Image: Macall Polay/Netflix © 2025 Devon, with her striking punk rock aesthetic and unapologetically rebellious demeanour, definitely stands apart from the crowd. Her arrival causes undue duress for Simone and, when an observant Kiki notices this, she offers Devon $10 000 to leave. Kiki gets Jose (Felix Solis), the manager at Cliff House, to drive her to a closeby hotel. Meanwhile, Simone is also anxious about Kiki finding out about her relationship with Ethan Corbin III (Glenn Howerton), the eccentric neighbour and close friend of the Kells. Amid the frenzied planning for the upcoming event, Kiki suspects Peter of stepping out on her and gets Simone to spy on him. 'Sirens' offers a fly-on-the-wall perspective of the world of the insanely rich, their lifestyle, eccentric behaviour, paranoia, as well as insane demands. A distinctly unsettling feeling permeates the series, hinting at something more malevolent lurking beneath the surface of Kiki's connection with Simone. Again, it's a testament to the talented writers ensuring that every episode leaves the viewers on tenterhooks. Julianne Moore as Michaela, Kevin Bacon as Peter Kell in 'Sirens'. Image: Macall Polay/Netflix © 2025
Indian Express
05-06-2025
- Entertainment
- Indian Express
‘Sirens' and the women that men love to blame
Before sirens became screeching beacons on police cruisers and ambulances, they were winged women who lured sailors to their island with seductive songs. Not even Odysseus, the great Greek hero, braving his way home to his beautiful wife and son after the Trojan War, was immune to their song, thrashing against bindings of both rope and duty to reach them. Centuries later, their legacy lives on, not in the pages of mythology but in the way society still views women who wield power, allure, independence, or simply dare to step outside their house. Netflix's new limited series Sirens, created by Molly Smith Metzler (based on her 2011 play Elemeno Pea), revisits this age-old archetype through three modern women who, depending on whom you ask, are either victims or villains, or perhaps both. The women of Sirens seem to embody the mythical creatures they are named after. Michaela 'Kiki' Kell (Julianne Moore), a wealthy socialite, is rumoured to have murdered her husband's first wife. Simone DeWitt (Milly Alcock), her sweet yet sharp secretary, is accused of manipulating her way into the lives of powerful men, including her boss. And Devon DeWitt (Meghann Fahy), Simone's older sister, is hinted to be a nymphomaniac, seducing everyone from her boss to the ferry captain. The men in their orbit are helpless — or so they claim. Ethan Corbin III (Glenn Howerton), a wealthy playboy, calls Simone a 'monster' after she rejects his marriage proposal and blames her when he drunkenly topples off a cliff. Peter Kell (Kevin Bacon), Kiki's husband, blames her for his estrangement from his children before discarding her for a younger woman, Simone, who was his best friend's girlfriend until yesterday. Even Devon's boss, who nearly drowns in a reckless midnight swim, tells her, 'You have this crazy pull over me.' The sisters' own father blames their late mother for the abuse and neglect he heaped on his daughters — as if her suicide, not his actions, doomed their family. Are the men on to something, then? Are these women, who allegedly ensnared them with their beauty and 'honeyed' siren song, to be blamed for their misguided actions? Or are they simply being cast in the same role as the sirens of old — beautiful, dangerous, and always at fault? The series opens with Kiki walking through the fog with a peregrine falcon, whispering to it before it takes flight. Later, we learn she runs a sanctuary for raptors, nursing wounded birds of prey. The symbolism is heavy-handed but effective: These women, like the falcons, are predators by nature, but they are also victims of circumstance. The falcon, once freed, returns in the night, too afraid to leave the safety of the sanctuary. It crashes through the glass of Kiki's home, destroying what little stability she had — a foreshadowing of her own fate. Kiki fires Simone after discovering that her husband has set his sights on her. However, Simone — a predator herself, and a wounded one at that — refuses to go back into the wild once she has seen what her life could be. Simone, like Kiki before her, is a survivor, clawing her way up from foster care into the gilded cages of the elite. Devon, trapped in cycles of self-destruction, seeks validation in the arms of men who see her as both temptation and scapegoat. It is clear that a wounded predator is still a predator, but the question to ask is: Who hurt them in the first place? The women are in no way innocent. They are flawed, sometimes cruel, often selfish, but so are the men. The difference is that the men's actions are ignored and excused, while the women are vilified, seen as monsters rather than just human. For centuries, men have refused to take accountability for their decisions, accusing women of bewitching them, robbing them of their free will. It is an argument which continues to crop up even today. Men blame women dressing or behaving provocatively, for having the audacity to step out at night or rub shoulders with them at work, while their own behaviour is put down to an inability to control themselves. Cast off on an island in the middle of nowhere, the sirens are trying to survive like everyone else in this world. But their greatest sin, it seems, is crossing the path of sailors. One might wonder whether at least some of the responsibility lies with sailors who stray from their course. 'The Sirens bewitch everyone who approaches them. There is no homecoming for the man who draws near them unawares and hears the Sirens' voices: No welcome from his wife, no little children brightening at their father's return,' Circe warns Odysseus in The Odyssey. Of course, she had 'coerced' Odysseus into a relationship and sired a son with him before that. What else is to be expected from a witch?
Spectator
04-06-2025
- Entertainment
- Spectator
Excruciating: Sirens reviewed
You had a narrow escape this week. I was about to urge you to watch Sirens, the latest iteration of that fashionable genre Ultra-Rich Lifestyle Porn, currently trending on Netflix. But luckily for you I watched it right to the end and got to witness the whole edifice collapsing like a speeded up version of Miss Havisham's wedding cake. Normally, this doesn't happen. Like most critics I have neither the time nor the work ethic to view a TV series in its entirety before putting in my tuppenny-ha'penny's worth. I just assume that if something starts well or badly it's going to continue that way. Not Sirens, though. It's as if, about halfway through, a promising set up with a cast of well-drawn characters, a luscious location and an enticing plot line suddenly got hijacked by a madman with an axe screaming: 'Must destroy!' Since Sirens began life as a stage play (Elemeno Pea), since it was adapted for TV by its creator, and since most of its problems are tonal and structural, I think we can safely lay much of the blame at the door of the author, Molly Smith Metzler. Her play does not seem to have had much impact, at least not on the stage, since it came out in 2011 as part of the '35th anniversary of the Humana Festival of New American Plays in Louisville, Kentucky'. By the end of the TV adaptation you might well be able to guess why. Frothy, satirical and witty, it starts out as farce; then mutates, unexpectedly and almost deftly, into a haunting potential murder mystery in the manner of Rebecca; then, suddenly, decides to do what I can only describe as 'totally lose its shit' and metastasise into a psychologically implausible, grotesquely cringey, excruciatingly unsatisfying melodrama.
