SIRENS

Sirens is led by a compelling trio of performances from Meghann Fahy, Julianne Moore and Milly Alcock who makes this dark comedy drama an addictive watch, making this pastel soaked miniseries alluring like a siren’s call, even if the narrative is not as strong as it thinks it is.

In recent years, television and particularly miniseries have gravitated towards female driven storytelling led by some of Hollywood’s biggest names with series like Big Little Lies, Little Fires Everywhere and Sharp Objects to name a few. Through this medium, complex stories often based on best selling novels or plays have been adapted to the screen, giving enough time for the stories and characters to fully develop, leading to some of the best television of the past decade. Joining this specific subgenre is the latest Netflix miniseries Sirens, based on the play Elemeno Pea whose writer Molly Smith Metzler has developed it for the small screen, with Margot Robbie’s LuckyChap Entertainment producing the show. Armed with a talented cast of Julianne Moore, Meghann Fahy, Milly Alcock, Kevin Bacon and Glenn Howerton, this exploration of women, class, wealth and power is a seductive binge with its exquisite production design and costuming, explosive dramatic moments and intriguing characters, even if the commentary it develop never fully rises to its true potential.

With three incredible performances from Fahy, Moore and Alcock leading Sirens, it’s hard not to devour this miniseries. Fahy is wonderful as Devon, effortlessly capturing her character’s inner demons while bearing the weight that she has felt attempting to hold her family together for years. Her scenes with Alcock, who is a spitfire as Simone, are heated, passionate and riveting as these two sisters battle out their intertwined and fractured past, unleashing their own emotional insecurities on each other. Though, it is in the miniseries’ quieter moments where Fahy unpacks all of Devon’s emotions and reflects on the woman her sister is becoming that Fahy provides the most vulnerability to Devon, creating riveting moments of character development that transcend the screen. Alcock, while not duking it out with Fahy, creates an endearing charm and poise as Simone as she tries to insert herself into Michaela’s high class world and find the family she always wished for. And it should be no surprise that Moore is nothing short of outstanding as Michaela. Bringing a calculated wickedness that she can turn on and off in the blink of an eye, Moore brings to life this complicated woman with a true sense of intrigue. Within one scene, you can’t help but feel the warmth that Michaela is giving but questioning the two-faced nature of her within the next, before underestimating truly how dangerous this wealthy woman actually is, and it's all thanks to the brilliance and nuance of Moore’s performance that captures every strength, fear, vulnerability and flaw of this enigma of a character.

While it is the women who steal the spotlight, there are some great supporting performances from the male cast members. Bacon captures that calm, well mannered old money billionaire of Peter Kell with a compassion and comfort that draws our three leading characters to him. Howerton is a laugh and a half as Ethan Corbin II, showcasing perhaps everything that can go wrong with extreme wealth as the trust fund man child who cannot fathom things not going his way. Felix Solis is wonderful the Kell’s property manager Jose, bringing a wit, cunningness and great sense of humour to all of his scenes as he holds a severe grudge against Michaela and Simone while being a fast friend for Devon. And relative newcomer Trevor Salter is absolutely charming as Morgan, the ship captain who catches the eye of Devon with a warmth, kindness and caring nature that like Devon herself, is a breath of fresh air amongst the wealthy inhabitants of the island estate where the story unfolds.

If there is one aspect of Sirens that does not fully deliver on its promise, it is the miniseries’ narrative. From the second that Devon arrives at the Kell estate, audiences are plunged into a world of high society, control and power struggles, and it immediately hooks audiences. From the all powerful and all knowing Michaela orchestrating everything, the stark division between the Kell family and the hired help, and the general attitude to Devon as an outsider, the themes of class, wealth, family and power that Metzler explores are immediately apparent. As the story progresses, and you begin to see the cracks in what you were first introduced to, as Michaela’s image becomes a more raw and vulnerable portrayal of a woman trying to maintain control of her life, and the complicated family history of the DeWitts that has led to this fracture between Devon and Simone, leading to a more meaningful thematic discussion. Never short of shocking moments that will have viewers quickly hitting that next episode button as they watch the power struggle between Devon and Michaela unfold, the series stumbles in its final inning. As the story begins to wrap up in the final episode, it feels very rushed to come to its conclusion and does not give time for the plot twists and ideas introduced in the finale to breathe and fully develop, making it end on a slightly lacklustre note after such an enticing four episode run.

Even if the story does not fully connect as Metzler intends it too, Sirens is without question a beautiful visual experience. Bringing to life the eastern seaboard of Massachusetts is great costuming that captures the wealth and status of each of its characters with a fun pastel and nautical twist to bring to life this Labor Day weekend on the east coast. From the extreme glamour of every outfit that Michaela wears, the grunge and slightly ill-fitting clothes that Devon finds herself forced to wear, the appearance of opulence but noticeably not designer outfits of Simone, the colourful and playful outfits of Ethan that captures his non-serious playboy nature, to the classy yet restrained clothes that Peter wears that represent his old money status, there is not a costuming choice that does not inform the characters. The set design, particularly that of Cliff House, is excellent, inviting viewers into this glamorous world with its artwork, colourful walls and immaculate condition that attempts to hide the vanity and shallowness of the Kell family that is lurking just beneath the surface of the entire series. It’s smart design from start to finish that helps to inform the themes that Metzler is exploring and helps to further characterize each player in the story to supplement the brilliant performances of the cast.

Delivering riveting television with a wicked sense of humour, shocking moments and great performances, Sirens makes for a quick and deliciously entertaining binge. Pairing a star studded cast with excellent work from the entire ensemble and outstanding production design to amplify the exploration of class, wealth and power, Molly Smith Metzler ensures that there is not a second of her stage play adaptation that is not without bite, even if the effect of everything explored in this miniseries fails to have its intended effect after a rushed conclusion as the story enters its homestretch. With the elegance and brilliant lead performances of Meghann Fahy, Julianne Moore and Milly Alcock, there is never a second of Sirens that is not addictively entertaining in this funny yet dark story of gender, class and wealth on this small Massachusetts that makes for one truly entertaining and engrossing miniseries featuring a brilliant ensemble cast and gorgeous costuming and set design.