Can't stop talking about Netflix's bonkers ‘Sirens'? Join us.
Moore stars as Michaela Kell, an ambitious lawyer turned socialite who hires 25-year-old Simone DeWitt (Alcock) as a live-in personal assistant on the island estate she shares with Peter (Kevin Bacon), her husband of 13 years. Fahy plays Simone's older sister, Devon, who still lives in their hometown of Buffalo and tends to their father, Bruce (Bill Camp), who has early-onset dementia. Eventually, Devon shows up at the Kells' property looking for Simone. The DeWitt sisters had a rough upbringing, especially after their mom died, so Devon is stunned to discover her sister's new life of luxury.
Audiences might be just as surprised by the show as a whole. Because while 'Sirens' has all the trappings of a prestige TV hit, it is also — how best to put this? — completely insane. Creator Molly Smith Metzler (Netflix's 'Maid') based the series on her 2011 play 'Elemeno Pea' and takes advantage of the expanded runtime. She leans into soap opera dramatics, all of which build to a jolting crescendo.
This is the sort of show you'll want to discuss as soon as its bonkers finale fades to black, so we — Washington Post senior video journalist Allie Caren and Style reporter Sonia Rao — thought we'd get the conversation started. There are plenty of spoilers ahead, obviously, so don't say you haven't been warned.
Allie Caren: I'm a sucker for so many things in this show: ultra-wealth; sweeping, pristinely manicured oceanfront real estate; complicated family dynamics; and 'summering' in a coastal town. What's not to like?
Sonia Rao: 'Sirens' certainly belongs in the thriving genre of rich people doing silly rich people things, similar to HBO's 'The White Lotus' and 'Big Little Lies.' At times, it can feel like a counterpart to Hulu's 'Nine Perfect Strangers,' especially when Devon starts to believe — deep breath — that Michaela a.k.a. Kiki somehow killed Peter's ex-wife and is now the leader of a spiritual cult that ends each meeting with a strange phrase: 'Hey, hey.' Rich people, cults, luscious aesthetics — it sort of comes off as an SEO dump of what makes for a popular TV show these days. Not to say it doesn't have its merits, but … didn't Nicole Kidman already make this?
AC: There are definite similarities between 'Nine Perfect Strangers' and 'Sirens,' down to the significance of something as small as a smoothie. In the former series, Masha (Kidman), the director of a remote healing resort, micro-dosed her guests' smoothies. Kiki, on the other hand, is much too preoccupied to take a single sip of the daily blends her personal chef, Patrice (Lauren Weedman), whips up. She waves it off in one scene like it wouldn't cost 20-something dollars at Erewhon. Hey, Patrice, I'll take it!
SR: Julianne Moore was the main reason I decided to watch 'Sirens.' She so carefully navigated her performance in Todd Haynes's 'May December' as a Mary Kay Letourneau analogue married to a much younger man, and Kiki seemed similarly stubborn about sugarcoating her rather transactional marriage to Peter. We do learn as the show goes on, though, that Kiki is far more in touch with reality than she lets on.
AC: Moore pulled me in, too. There are so many personas wrapped into her character: first, an emotionally unpredictable boss you're scared to cross but determined to please; second, a mysterious, witchy conservationist who finds purpose in using her wealth to help nature; and finally, your best friend, stand-in mom, confidante, running buddy and sometimes snuggle partner who comforts and consoles and protects you. Kiki has range.
What did you make of Simone and Devon's relationship?
SR: That was probably the most intriguing part of the storytelling for me, as one of two sisters with a similar five-year age gap who (thankfully!) grew up in a much happier household than theirs. Simone and Devon's mom died when they were young, numbing their father, Bruce, and forcing Devon to become Simone's primary caretaker. Bruce continues to emotionally abuse and neglect Simone once Devon goes to college, and child protective services eventually places Simone in foster care until Devon decides to abandon her studies and return home to Buffalo.
It's brutal on both sisters, given that Simone suffers post-traumatic stress disorder and Devon feels like she never got to lead a life of her own. Simone's behavior early in the series makes sense to me — she yearns for a stable maternal figure and latches onto Kiki, who shows her kindness — but Devon is an enigma. I get that she coped by developing a sex addiction, which is only worsened by her attempts to abstain from alcohol, but I just cannot move past her licking a complete stranger's neck when he was trying to give her a platonic hug. And why is he so chill about her doing that? Devon is exceptionally weird and rude to everyone on the island, even people who never mistreated her in the first place.
Fahy is innocent in all this. She and Alcock are really believable as sisters with resentments simmering just below the surface. I wish they'd received a stronger set of scripts.
AC: Simone's PTSD dramatically affects her relationship with Devon, too. In fact, if you rewatch the series, you'll realize it's present before the viewer even learns about its cause: Their mother tried to kill herself and Simone by piping in fumes to their parked car. (Devon found Simone in time to get her help, but their mom died.)
The sprints Simone makes on the stretch of beach between the Kell property and the home of her boyfriend, Ethan (Glenn Howerton), makes for good symbolism: Simone is constantly running from her past (and eventually, her present). She runs, more than once, on the sand along the water's edge between these two spots; rushing out of Ethan's home, racing across the sand, flying up four flights of stairs (plus landings! She must be a StairMaster queen!) before dashing across the Kells' expansive back lawn to reach the back door. (In fact, there isn't much of a 'runner's high' in this show at all: running is almost always associated here with negativity and racing — physically or figuratively — from someone, something or oneself.)
SR: We should probably talk about the water, too. While Devon and Simone use the code word 'sirens' with each other as an SOS, it doubles as an allusion to the seductive female creatures in Greek mythology, whose voices lure sailors to their doom. Sirens are often thought of as mermaids, but they're sometimes depicted with the lower body of a bird — making Kiki's obsession with the animal all the more meaningful. Devon, Simone and Kiki are all alluring women who are, at different points, accused of leading men to their demise.
AC: And Kiki has a mermaidlike appeal to her, doesn't she? With her porcelain skin, auburn hair, and flowy gowns and ensembles? Even the colors of her matching running sets fit the fin — er — bill.
A majority of the other costume and wardrobe decisions are far less subtle. The only place I'd expect to find a larger collection of Lilly Pulitzer is a brick-and-mortar store or the Kentucky Derby. (Hope the brand got a kickback.) Costume designer Caroline Duncan shied away from quiet luxury and instead leaned in fully to the oversaturated, bright, preppy palettes so often associated with coastal towns.
SR: Part of it might be my personal distaste for the Lilly Pulitzer aesthetic, but I found this show really hard to look at. Beyond the color palette, many of Kiki's scenes were blindingly bright — which, paired with a slight blur effect, is clearly referencing the mythological Sirens' hypnotic quality. But the Vaseline lens aesthetic is deployed inconsistently and kept making me feel like I needed to wipe some gunk off my glasses. Not to mention the fact that Devon is shot in some of the harshest lighting I've seen on TV since the last season of 'The Bear.' Again, I understand the symbolism, but the back-and-forth ended up distracting me more than anything.
I'd love to hear your perspective, though. What did you think?
AC: I was captivated by the over-lit, mesmerizing, dreamy effect of the close-ups especially. They force the viewer to be a bit uncomfortable — and I think that was the point.
I also deeply appreciate a well-spent drone budget. Bravo to the bird's-eye look at Simone running on the beach (again and again and again) and to the closing shot of Simone reigning over her new domain in a silky, icy blue dress at the miniseries' end.
The incredibly deliberate cinematography captures the beauty and excitement of late summer so well. It makes me want to book a trip to Bar Harbor, like, yesterday.
SR: I'm absolutely with you there. The show takes place over Labor Day weekend, but it feels like such a blessing that it's coming out at the very start of the season for us.
I'm not suggesting I'd want a long weekend resembling theirs, though. My jaw dropped at the finale, in which Simone — after breaking up with Ethan — decides to shack up with Peter, who sends Kiki packing the very same day. The seeds were planted for this crazy development: Kiki compares her marriage to a business transaction in an earlier conversation with Simone, who gets fired after Kiki discovers she kissed Peter earlier that weekend.
Simone is a survivor who will clearly do whatever it takes to get out ahead, but I still don't find it believable that she would go after the husband of a woman she absolutely adored. She is supposed to have an undergraduate degree from Yale — can't she get a different well-paying job?
Also, what's the deal with Peter's kids from his first marriage? There is an entire subplot where Kiki thinks Peter is cheating on her when, instead, he's spending time in secret with his estranged children, who apparently dislike Kiki. He announces they're coming to the estate mere moments before dumping Kiki and getting together with Simone — whom the kids would dislike even more, surely? I wish we got to see his two adult children meet his latest girlfriend.
AC: The whole seeing-my-kids-and-new-grandson-in-secret thing was a forced subplot for me. You could have removed the cheating allegations, the chocolates 'from Tokyo' and the lying and instead filled it with the interactions you suggest. I would have even been happy to see the kids interact with Kiki before her demise.
I honestly had no idea Kiki would end up the victim ('victim') in the end. I thought she'd begin the villain and remain so — maybe that's what they wanted me to think; maybe I just fell for it.
SR: Yeah, I think that's the intention. Sirens are a mythical manifestation of men fearing women with power, and by the end of the show it's clear that Peter's nice-guy shtick is all a ruse. He can't stand the idea of Kiki holding anything over him and gets rid of her as soon as he senses her influence growing.
I'm a little confused what the show wants us to think of Simone. She seems to be the ultimate villain in the finale, manipulating her way to the top, but Kiki ends up telling Devon on the boat leaving the island that neither she nor Simone are monsters. Is Simone truly a victim of circumstance? Surely there were other, more moral ways out of her situation.
One of my friends told me from the very start of us watching this show that she was on Team Kiki. Maybe I should listen to that friend more.
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