Meghann Fahy’s characters often face turbulent vacations. In , her character’s marriage faced challenges, and . In *The White Lotus*, her character was the murder victim, disrupting a Nantucket wedding. Fahy’s latest series, *Sirens*, closely resembles this year’s *Perfect Couple*. Both are Netflix productions featuring well-known actors portraying affluent individuals vacationing on exclusive New England islands. Each story features a young, modest heroine against a powerful, potentially menacing wealthy woman, this time embodied by a seemingly calm Julianne Moore. While *Sirens* hints at aspirations beyond typical celebrity-driven crime dramas, its undeniably captivating appeal primarily lies in its soapy elements.
Based on a play by Molly Smith Metzler ( *Maid*) and supported by executive producers including , the miniseries presents Fahy’s Devon as a classic burnout case. She’s seen leaving a police station in dark clothing, combat boots, and smeared eyeliner. The reason for her presence there is initially unclear. Devon has been in Buffalo, caring for her father, who suffers from dementia (Bill Camp). Reaching her limit, she seeks assistance from her somewhat distant sister, Simone (Milly Alcock, known for *House of the Dragon*).
Simone works as a live-in assistant and close confidante to Michaela (Moore), the charming but demanding wife of a billionaire (Kevin Bacon). His philanthropic foundation resembles a cult. Devon’s disheveled arrival on an island seemingly sponsored by Lilly Pulitzer, at the start of a busy Labor Day weekend culminating in Michaela’s annual gala, throws the household into disarray.
*Sirens* has been marketed as a dark comedy with a “bite” fitting its title. Elements like a trio of adoring followers who speak in unison occasionally create a surreal, satirical atmosphere. The finale suggests a desire to critique the misogyny and wealth obsession inherent in stories like *The Perfect Couple* rather than simply replicating them. However, Metzler often falls short of genuine wit and originality. This results in an inconsistent tone. We are distracted by the stunning scenery, a complex plot, and impressive performances—all of which make *Sirens* as entertaining as the shows it intends to critique, but not significantly more profound.
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