“Sirens” is unexpected in many odd ways, not all of them bad. The new Netflix series is about navigating sisterhood estrangement, family trauma, hints of a cult and a very odd employer-assistant relationship — amongst other things. Heavy spoilers ahead!
I first came across “Sirens” through a few stray tweets; enough for me to raise my brows, but not enough to check it out — yet. I was too overwhelmed with real life stuff to escape the usual way — into another world created by fictional characters and film.
However, over the weekend, I finally had some free time and decided to see for myself what those tweets were about. There’s nothing I love more than gathering context for myself — especially when it involves fictional worlds and characters.
We’re immediately introduced to Devon, a chaotic mess of a character who we first meet outside the police precinct after getting a DUI. As the show progresses, we’re introduced to the deeply complex relationship between Devon and her sister, Simone, who ghosted her when the latter told the former that their dad had early-onset dementia. And that’s the mildest thing they’ve had to navigate in their lives.
The plot gets right into it
“Sirens” wastes no time in throwing us straight into the craziness, but does it with such aplomb that you hardly notice just how crazy. It explores a problematic and slightly homoerotic relationship between Simone and her boss, Michaela “Kiki” Kell, a wealthy and eccentric woman who seems to have supernatural powers of persuasion.
Devon’s arrival dramatically disrupts Simone’s meticulously rebuilt life as Michaela’s personal assistant at Cliff House, an impressive mansion perched on the edge of a cliff on an island reminiscent of Martha’s Vineyard.
Familial trauma
Simone has wiped out all indications of her real life — her relationship with her sister, and their matching sister tattoos. They appear to dislike each other on the surface, with Devon asking for help with their sick father while Simone tries to push her away.
The plot unfolds with several twists, revealing the childhood trauma Devon and Simone had to endure together while growing up, the complicated bond it created between them, and the real twist of all — the seemingly harmless men being the real villains. But really, is that much of a twist?
The show is aptly named “Sirens”, after the mythical creatures — half woman, half bird — who lure sailors to their deaths. The metaphors are multi-layered and contextual — Michaela has an aviary foundation for the birds that mean so much to her. Secondly, the plot itself almost deceives us with its own siren song — Michaela seems to be the “villain”, the one in control of something that looks like a cult at first, but is really just someone who’s married to a rich man and has a lot of staff at her beck and call. There’s a dreamlike quality to some episodes that hints slightly at a supernatural theme, but dissolves and clears up in the final episode. That was confusing, but I’m often willing to accept whatever directors throw my way, if the plot is entertaining enough.
Sirens’ plot has an actual twist
We quickly learn the real story — the billionaire Peter is the real siren here, a rich man who uses his wealth to escape, evade responsibility and create whatever narrative he wants. His relationship with his kids from the former marriage is strained — and Michaela is blamed for that rift.
Rumour also suggests that Michaela murdered his first wife, Jocelyn, a person we never meet and a name we often hear echoing in the rooms of the house, though there’s no proof that she even met the woman. It’s a clever metaphor that illustrates how women often get the hard rap for men’s behaviour and misbehaviour.
In the end, the biggest plot twist is Simone’s reverse move on Michaela — replacing her as Mrs. Kell so quickly it gives us whiplash. Peter discards her coldly, with a shocking indifference. In the same words Michaela had used to fire Simone earlier the same day (Labour Day Gala day, no less!), he ended their 13-year marriage. Her reaction — a distinct lack of surprise, indicates that he’d discarded his first wife much the same way.
As for Simone, I don’t blame her, honestly, she fought hard to escape her chaotic upbringing and family. I only hope she’s smarter than Michaela was and secures her future before Peter inevitably switches her out for a younger version.
Devon and Simone: The beauty of sisterhood
My major highlight in “Sirens” is the relationship between Devon and Simone. It’s a deeply complex one; fraught with their traumatic upbringing; they both barely survive a suicidal mum and a neglectful dad, Devon’s well-intentioned need as an older sister to protect her sister (as someone with a younger sister, I get it) which always inevitably ends in total destruction, despite good intentions.
Though it was maddening to see these two characters make the wrong choices and ruin things further with each choice, their love for each other was apparent, even as they navigated their complicated relationship.
There’s an important scene where Devon takes care of Simone as she suffers a panic attack — it’s a representation of how Devon’s love manifests — giving up college and moving back home to raise Simone after their father neglected her as a child. Devon’s entitlement and Simone’s avoidance of who she was and where she came from almost ruined their lives, but they found a way out of it, and back to each other, at least something that looks like it.
In conclusion
“Sirens” made an enjoyable watch, with its unexpected twists, quirky characters (Jose is a fave), and dreamlike editing. The plot subtly highlights something sinister and prevalent in our society — women are always the easy target, the fall guy for everyone else’s problems and issues. Milly Alcock, Meghann Fahy and Juliann Moore all brought their characters to life with brilliant acting and a complete ownership of their distinct characters.
If you’re looking for something new to watch, this five-episode show is perfect, you’re welcome!
