“Sirens” is a fresh and ambiguous project from Netflix that captivates from the first frames. This is a series that I watched literally in one gulp – and not so much because of the fascinating plot, but because of the rare combination of charismatic actors, stylish entourage and almost elusive mysticism that permeates the story. The title alone refers to Greek mythology, promising a subtle play of symbols and allusions, and the series keeps this promise, albeit not in a direct fantasy vein.
The main character, Devon, played by Megan Fahey, is struggling with alcoholism while caring for her father, who suffers from dementia. In an attempt to relieve some of the stress, she turns to her younger sister, Simone (Millie Alcock), who has long been living her own life, completely immersed in the world of glamour and luxury. But she works for the mysterious billionaire Michaela (Julianne Moore), and as Devon immerses herself in this strange world, she begins to feel that something is wrong with him.
The series gradually unfolds like a modern parable. Simon suddenly changes beyond recognition: plastic surgery, lifestyle, new strange relationships. Michaela looks like a cult leader: obsessed with “naturalness”, she controls not only the lives of her subordinates, but also her own husband, played by Kevin Bacon. Everyone around her seems to be enchanted, and Devon thinks that her sister needs to be pulled out urgently. But Simon herself is in no hurry to escape.
Although formally “Sirens” is not a fantasy, a feeling of magic and unreality is in the air. It is more of a metaphor: sirens as mythological creatures, alluring and destructive, are present here in intonations, music, atmosphere. A soundtrack, as if sung by mermaids, accompanies each episode, emphasizing the shaky boundaries between reality and illusion.
The image of Michaela, played by Julianne Moore, is the central mystery of the series. She is like an ancient goddess in the modern world: she lives on a remote island, where she attracts people who seem to be enchanted by her speeches and philosophy. A kind of cult is born around her – utopian and frightening at the same time. First Simon is drawn into this, and then Devon herself, losing her bearings and confronting her own fears and desires.
It is important to understand: the series is based on a drama, saturated with psychological nuances, and not action or magic. This is the story of two sisters who find themselves in a difficult moral situation, where there are no clear heroes and villains. Each character here lives for their own goals: someone wants to heal, someone – to gain control, someone – just to be needed. Against this background, the series becomes a subtle satire on class differences, loneliness, spiritual emptiness and an attempt to fill it with someone else's truth.
The finale may disappoint those who are waiting for a classic denouement. There will be no “shootout” or catharsis – only a quiet and bitter transformation. The heroes seem to change roles, and the eternal story repeats itself: the oppressed become the oppressors. This brings the series to the level of a parable, which does not give simple answers, but leaves a lasting aftertaste.
However, “Sirens” is worth watching at least for the actors. Julianne Moore here is truly from another world — subtle, mysterious, powerful. Millie Alcock and Megan Fahey support her with dignity, making their heroines multi-layered and alive. This series is not about action, but about moods, about feelings that cannot be rationally explained — like the song of sirens, beckoning to a precipice from which it is impossible to look away.
Джерело: ukr.media
