Latest news with #MillyAlcock
Forbes
2 days ago
- Entertainment
- Forbes
Interview: ‘Sirens' Cinematographer On Secrets, Inspirations, & More
Netflix has a hit miniseries with Sirens from creator and showrunner Molly Smith Metzler. Last weekend I brought you a look behind the lush curtains at the cinematography of Sirens. This weekend I bring you part two of that conversation. Milly Alcock stars in "Sirens." Inspired by Metzler's original play that itself took inspiration from a real-life experience and place, Sirens stars Milly Alcock, Meghann Fahy, Julianne Moore, and Kevin Bacon. The first two episodes were directed by Nicole Kassell, while Quyen Tran directed the third and fourth episodes, and Lila Neugebauer directed the fifth episode. The series was scripted by Metzler, Bekah Brunstetter, and Colin McKenna. Sirens tells the story of two sisters whose lives took very different paths, and whose choices lead them to a decisive moment in their relationships that will determine their future. This all happens on an island of wealthy socialites and the huge staffs they employ, divorced from the influences and stresses of the outside world… or so they say. The truth is, of course, that nothing is what it seems to be, and mysteries pop up as the past and all of its secrets unravels over the course of a couple of eventful days. If you've already seen Sirens, then you can read out more about the shocking ending here. Suffice to say, the rest of this article and the interview includes information about the plot and events of the series, so consider this your spoiler warning. So without further ado, let's get to the rest of my interview with Gregory Middleton. Again, be sure to check out the first part of this interview. MH: [You spoke previously about the gaze and] capturing that experience from both perspectives in the photography. And it helps a lot with the conflicting themes about the sirens as well. Because of, on the one hand, that gaze and being the hypnotized, and so there's the myth of the sirens that you're drawn in. But then on the other hand, there's the opposite, which is, the sirens were these were women who were stranded, and when they called for help and men would see them, men would crash their boats on the rocks. And [in Sirens] And it's such a-- the way the camera work brings that to life is interesting and complex, but [many people aren't noticing those even deeper layers]… There's so much more people will think about and get as they rewatch it. It's just it's really terrific. GM: Thank you, Mark. It's in it's in Molly's writing, it's in the in the in the concept of the show, because part of it is kind of like, who is the siren? What are sirens? It's a question it's posing. And also the idea of like, you know, there's a certain amount of "sirening" that goes on from all sides, right? It's not like there's a one mythical siren seducing everybody. It's also about self-deception, right? The way Simone says at the end of the show, it's like, well, he was just there and I couldn't stop myself, what was I supposed to do? It was like, I couldn't refuse the call kind of thing. That idea of [being] overwhelmed, I just had to do this, having a sign or a feeling you can't control, to compel you to do something, to compel you to make a choice. And that idea is very internally generated, right? But blaming the siren… [that] the sirens had a power to make me do something, is a way to self-excuse away any responsibility for any choices you make. And that's sort of one of the aspects the show is trying to explore is this idea of self-deception. There's this idea also of calling people who have made me do things monsters, right, the sirens are monsters. Like Simone gets called a monster. The word is used very deliberately by Milly. Because it's a way of blaming, like, 'You made me do this. It's your fault.' Which is like, well, don't you have agency yourself? But the idea of what it's like to feel this way-- with the incredible performances by our amazing cast, in the moment it's like, yeah, I mean if you're sitting in front of, you know, Milly Alcock or Julianne Moore, and they're looking at you like that, you're like, yeah, let's go. You know, you're going to make a choice that they're going to suggest. And [first-person camera] is a way to sort of understand what that feels like, because it's something that's sort of universal. I mean, it's just in my own point of view, is the myths are created out of a desire to express things about what it's like to be a human being. The stories are designed to express some idea. And the idea of someone saying, you know what? I just had no control of it. This, you know, this person had this hold over me and I I was totally beholden, I couldn't help myself. Meaning like, well, maybe they're magic, maybe it was real magic that was doing it. Right? This idea of excusing it away-- like maybe they were a witch or a warlock, or a siren. I mean, they could have been a siren because sirens have this ability to make you do things you shouldn't or whatever. But myths would express ideas about people, and about us ourselves. And in this case, in the show for me it's trying to explore all that. And it's also a comedy. I find the script extremely funny, because people when people are in self deception, they can be pretty damn funny. I mean, I'm laughing a lot when I was reading the script sometimes, because people are saying those ridiculous things. I mean, Michaela is trying to save nature, and yet she got all these like stuffed things on her wall, and she's taking things off the beach. She's like, oh, let's save some wildlife now, but it's like totally deceiving yourself, and what she does is destroying stuff mostly. So I find that can be quite funny. So there's an interesting, dark comedy element to people that are deceiving themselves. And then the core of where that would come from is what the story is about. Like from some trauma, some really intense desire for something, or to get over something, or through something. And then a willingness to be deceived, right? Then in the climax of the show, you know, Kevin Bacon makes a pretty profound choice. But it's kind of self-generated. He's blaming somebody else for his issues. He decides, oh, this is the one thing it will do, it'll make things better for me, and I'm blaming someone else for my difficulties. And, you know, it's sort of perpetuating the cycle. And that'll turn someone else into behaving more the same way. And it perpetuates. MH: It was a fascinating shift in that perspective of, oh, Julianne Moore is heading a cult. And it's that outside perspective of what's behind the glow, and as you slowly come to realize at the end that, oh, well, Paul runs the cult, he's just bored with it. And essentially, he's the one each time, "Oh, they work for me. They work for me. And they work for me. And it's like Paul's really the one that everything revolves around., and he's the power behind the scenes. GM: Yeah, it's kind like he does have the most money. So yes, he is like in that way, his choices have the most impact, and everyone else around him has that. Another aspect that you were mentioning about the cinematography in terms of the effect on these things is, also, I did a couple of things with the camera and the lenses apart from the lighting to help indicate how far into a sort of warped reality we were. So whenever someone had more of a skewed view, and especially also in the "sirening" point of views with people being under the gaze, I was using some lens -- ARRI Signature Primes -- and they have an option, you get these little rear diopters, which are basically like magnifiers from the back of the lens. And they have a way of, like, sort of detuning the lens a little bit, and they can change the shape, like the shape of someone's face slightly. The stronger ones will make the face a bit more round. But also they create more aberrations around the edge of the frame, so whatever you're focusing on seems a bit more isolated. And the character of the way things go out of focus on the edge become more and more broken apart. You see different like bits of chromatic aberration, and it just becomes a very interesting mosaic out of focus, which is a bit subconscious. But it's a very simple technique I can sort of change and add through certain scenes. And it sort of helped out subconsciously, it would affect a little bit like, you can tell things are off kilter now in this way. And now things are more sharp. And there'd be no diffusion and none of that in Buffalo, for example. But when things are really getting trippy, I'll alternate between how much I want the edge of the frame to go a bit mosaically wacky. It basically breaks things apart a little bit. And that was a way to totally subconsciously lead into that. I don't know if it had any effect, we'll see. It didn't seem to draw attention to itself too much, at least, which is important. MH: That's again, yeah, what's wonderful about so much of this. It's the unfortunate nature of what I do that whenever I watch stuff, there's part of my brain I have trouble keeping turned off that's watching it as a reviewer or a screenwriter, thinking about and trying to figure out, you know, how was this shot done or whatever? And for so much of it, I wasn't being taken out of it or focusing out of the story, but then I would remember to put my reviewer hat back on, and then I'd go back and rewatch because it's like, yeah, it was very organic sense of surrealism and shifting tone. You feel it a lot, which perfectly doves tails into something I want to be sure to mention, which is Hitchcock, because this all ties back into, again, the house and the landscapes. GM: Yeah, the cliff house! MH: I mean, I love the way even just how you shot the staircases, for example, the different angles and the focus on them, and just how imposing that outdoor staircase is with the spiral from above. A lot of these shots are subverting kind of secretly and with the satire of the story, the way it projects the mystery and thriller elements, there's even I would say some some horror coding, some psychological horror coding. And it all has a nice Hitchcock feel. But watching it, you don't notice that it's being done to create that feel. So you're getting all those benefits without being like, 'Look here! Look at the edge! Look how this is framed!' It just is, and you feel it more than noticeably see it. That's what makes Hitchcock Hitchcock, I think. And that's what that vibe is. And it contrasts so perfectly with the pastels and brightness and the way that you're using that. GM: Yeah, it's interesting. I think also with Julianne Moore's presence, too, the way she's describing, 'I love walking along [the cliffs],' when she's walking with Devon's character when she's first arrives… and they're walking on the edge of the cliff, waxing poetic about, 'Oh, remember, the sailors used to crash here for hundreds of years.' It's like, was she a siren, was she here the whole time? But she's sort of absconding or taking these myths as her own, because she's a local now and now she's here so she's just immersing herself in the history, appropriating all the local culture and stuff, as another self-deceptive thing. The staircase thing is very interesting, because that's very deliberate in Molly's script -- and Nikki, when she directed the first episode, was like it's aspirational because Simone is running on the beach, and she's happy and running up to this house, right? It's like, I'm going up to this place. It's aspirational, this is where I'm going to go, it's pretty, it's beautiful, it has a majestic feel. But later on with Devon, walking to the edge of cliff, it's like, you know, you might die if you fall off this cliff, right? This idea of it's a threatening place. And then in the later episodes, in episodes three and four, it's like, yeah, you might die if you do fall over. You're going to be in trouble, as we know from what happened to her boyfriend. And we think maybe Jocelyn was killed, maybe the previous wife was tossed off the cliff, so it becomes this menacing thing. And then by episode five, with the climactic turn with Kevin's character, is that like he's ascending the staircase, right? He's going down there to meet Simone. He's thrown caution to win. He's decided, 'I'm just going to go on this journey.' And it's very symbolic. He's just leaving his perch. He's going right down to the water, as far as he can get away from where he's normally isolated, to meet Simone and make this big choice, right? And visually I think… it's just simple screen directions that can help psychologically create a feel for where a character going, like they're going left or right or up or down. It's something about someone climbing something, most people's feeling about climbing something is to have to get to somewhere. When people descend something, usually the feeling could be more about getting away from something sometimes. And it's just like internally psychological for most for most people, and it was used very deliberately in the staircase that was both beautiful and majestic, but also like a bit scary. And trust me, going up on the stairs while we're on the shoot you got to be careful, you know, you got to stay away from the edge. MH: It's some of those some of the hikes in around Runyon Canyon [in Los Angeles] and stuff. There's some of the long ones and there's one that has a really long staircase. And that's the thing I thought of was well, you better be careful going up and down a staircase that high. GM: Yeah, for sure. It was an incredible location that John Pano, the production designer, found. And we did digitally augment the house slightly. But just the idea of this house on a cliff, green, lush, bright, you know, facing the sea. And it provided what was for me, one of my favorite images of the show is Simone being on that rocky cliff. But we finally find that one spot where Julianne Moore's character would be like, this is where I watch the sunset or where I want to look at my domain. And for her to take over that position, and have the sun going down and her glowing was like-- this last transformation into something with the next version of her, the next version of someone who's going to now be a bit of a monster and a bit of a seducing force, you know, and this location provided that. And it gave you all this opportunity to create this type of staging. So it's an incredible place. MH: It's a great mix of the beauty and the idea that look, it's beautiful. But the hidden danger. And then, sometimes even though it's like, well, it's a cliff. It's not exactly hidden. It's the danger people worry about. But it's only dangerous to the person who does it to himself, essentially. And the real dangers are hidden in the real. What's the real danger? Well, you know, there's a lot of it… Big thanks again to Gregory Middleton for taking time out of his busy schedule for this extra-deep examination of the cinematography and making of Sirens. Sirens remains among the most-streamed series on Netflix this week, after nearly 17 million people tuned in over its debut weekend.
Daily Record
2 days ago
- Entertainment
- Daily Record
Netflix fans 'hooked' on 'unique' new series viewed 16 million times in a week
The five-part series is being hailed a 'masterpiece' by enthralled viewers. Netflix lovers have been enthralled by a new limited series that has already seen over 16 million views, and many have admitted binging the whole thing in one sitting. Featuring Julianne Moore, Meghann Fahy, Milly Alcock, and Kevin Bacon, Sirens debuted on the streaming service on May 22 and has swiftly climbed to the top spot in Netflix's global top 10 list of English TV shows. The five-part drama centres around "scrappy everywoman" Devon (portrayed by The White Lotus actress Meghann), who grows increasingly worried about her sister Simone's (House of the Dragon's Milly) unsettlingly close relationship with her new employer, the mysterious socialite Michaela Kell (Julianne). As Devon's suspicions about Michaela's opulent, cult-like lifestyle intensify, she stages an intervention to reconnect with her sister, oblivious to the challenges she'll encounter in a world far removed from her own, reports Surrey Live. The plot unfolds over a single eventful weekend at the Kells' extravagant beach estate. According to the series' synopsis, Sirens offers a sharp, sensual, and darkly humorous examination of women, power, and class. Viewers are hooked, with the series already boasting a 75 per cent rating on Rotten Tomatoes and a staggering 16,700,000 views. One viewer sung the show's praises on Rotten Tomatoes, saying: "Binged this in one sitting. Very entertaining." Another fan praised: "With superb acting, beautiful scenery of beachfront mansions, and a fast-paced storyline, this show was the perfect summer escape like a good beach read." Someone else remarked: "It's so good I binged it all this morning and I can't get enough of it." A fourth viewer praised the show, sharing: "Sirens is unique and special. I got hooked since minute one. A psychological and emotional series with a dark and classy sense of humor. "The performances are stellar; each character is meticulously developed and it allows you to see their complexities even in the shallow atmosphere of the cult. Hands down; this show hits a different level." Equally passionate views were found over on X, where one person stated: "Sirens is a masterpiece. You cannot convince me otherwise. It powerfully exposes how patriarchy and misogyny twist reality, turning women into villains while enabling men to evade accountability and rewrite the narrative in their favor. Insane!!" Another individual openly expressed their admiration: "Ok soooo, Sirens was f**king good. I wish it wasn't a limited series. It was so nuanced and written with an impressive amount of REALITY. That Milly Alcock was acting at a veteran level, it was almost eerie, give her a Globe AND an Emmy." Although Sirens joins shows like Adolescence as a limited series not set for a comeback, The Bold Type's Meghann has hinted that she sees potential for more. Speaking to Variety, she commented: "It ends in a very natural way, but I can imagine what the characters' worlds become." "I, for one, would love to know what happens to Michaela, where she goes. So I think it's definitely within the realm of possibility. We didn't talk about it on set, but I would love to do more." Molly Smith Metzler, whose play Elemeno Pea inspired Sirens and who also created the Netflix series Maid, has sparked some hope among followers. Speaking to Glamour magazine, she conveyed a deep connection with her characters: "These characters are real people to me. I wrote the play 15 years ago. I've been thinking about them this whole time. I could write them until the day I die." Opening up about the potential continuation of the story, she added: "I'd never say never, but could I do them justice in another season? I'd have to think about it." Sirens is available to watch on Netflix. Join the Daily Record WhatsApp community! Get the latest news sent straight to your messages by joining our WhatsApp community today. You'll receive daily updates on breaking news as well as the top headlines across Scotland. No one will be able to see who is signed up and no one can send messages except the Daily Record team. All you have to do is click here if you're on mobile, select 'Join Community' and you're in! If you're on a desktop, simply scan the QR code above with your phone and click 'Join Community'. We also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like. To leave our community click on the name at the top of your screen and choose 'exit group'.
Geek Tyrant
2 days ago
- Entertainment
- Geek Tyrant
Milly Alcock Opens Up About Terrifying SUPERGRIL Screen Test - 'I Thought I Was Going to Vomit' — GeekTyrant
Suited up in red and blue, standing under hot lights, next to another hopeful contender, it's not exactly a relaxing walk in the Fortress of Solitude. In a recent interview with Supergirl: Woman of Tomorrow star Milly Alcock opened up about the nerve-wracking screen test that landed her the job, and it sounds like it was a pretty intense experience for her. Alcock, who rocketed into the spotlight with House of the Dragon and is currently promoting her new Netflix series Sirens , has mostly stayed tight-lipped about her role as Kara Zor-El. But she finally gave fans a peek behind the curtain, saying: 'During a screen test, you're in a room with all the other women [vying for the same part] and you're all dressed as the character. [The studio] will get you lined up in the makeup truck and put the same makeup on you all and then test you on a stage. 'For Supergirl, it was myself and another girl. It was really scary; I thought I was going to vomit! But it's just fear! That's what happens! This job has been a journey of overcoming my own fear.' Landing the part didn't immediately feel like a triumphant victory either. Alcock said: 'I was kind of in disbelief. I was initially like, 'What have I done?' I then invited all my friends over to the house and we drank champagne.' That blend of anxiety, disbelief, and celebration must've been a wild expericnce. Woman of Tomorrow promises a harder-edged Kara Zor-El, someone who's been through hell before she even sets foot on Earth. James Gunn described her as 'much more hardcore,' contrasting her with her cousin Superman, who had the benefit of a loving Earth upbringing. The movie, based on Tom King's acclaimed 2022 comic, will follow Kara as she takes a cosmic journey with Krypto the Superdog to celebrate her 21st birthday, only to get tangled up with a girl named Ruthye and a brutal revenge mission. The cast includes 3 Body Problem 's Eve Ridley as Ruthye, Matthias Schoenaerts as the villain Krem, and Aquaman 's Jason Momoa as Lobo. Most recently, David Krumholtz and Emily Beecham joined the crew as Kara's Kryptonian parents, Zor-El and Alura. Supergirl: Woman of Tomorrow hits theaters June 26, 2026, and I'm very curious to see what's in store for this DC movie.
Metro
3 days ago
- Entertainment
- Metro
New 'dark' Netflix comedy rules the charts with 16,700,000 views in just four days
Steve Charnock Published May 28, 2025 12:28pm Updated May 29, 2025 5:03pm Link is copied Comments The weather may well be improving for most of us, as summer edges ever closer. But that doesn't stop us all from indulging in our great shared love of kicking back inside with a few televisual treats, does it? Last week, as ever, saw millions of us reclining on our sofas, putting our feet up and enjoying the latest Netflix action. Across the world, subscribers to the streaming service watched and dug comedy, drama, sci-fi, romance and some rather unsettling crime documentaries. But dominating the chart? A dark comedy starring Milly Alcock, Glenn Howerton, Bill Camp and screen legend Julianne Moore... (Picture: Netflix) We kick off our rundown of the 10 most popular TV shows on Netflix in the past week with FOREVER. We're not shouting, by the way - that's how the show brands itself, in all caps. It can do what it likes, though. It's earned it. With an impressive rating of 97% critic approval over on Rotten Tomatoes, this adaptation of Judy Blume's classic teen novel is winning plenty of fans. In it, two childhood friends reunite as teenagers and fall in love. Lovie Simone and Michael Cooper Jr. star in this romantic hit that's as sweet as it is enjoyable (Picture: Netflix) Tina Fey is usually a rather reliable stamp of quality when it comes to comedy television and her big budget, star-studded new show The Four Seasons doesn't buck that trend. Starring Fey and Steve Carrell, it's a funny, poignant and insightful comedy-drama all about what relationships are really like once The Honeymoon Phase comes to an end. Colman Domingo, Will Forte and Alan Alda co-star (Picture: Netflix) Fans rejoiced once again when Netflix debuted their excellent adult anthology animation series Love, Death & Robots two weeks ago. This time out there are 10 episodes, all of a different genre and animation style. This is now the fourth installment of the ground-breaking series from the mind of Deadpool director Tim Miller. Expect tiny aliens, Red Hot Chili Peppers, cats, toilets and even an appearance from Mr. Beast (Picture: Netflix) This historical South Korean mystery drama goes by the name Tangeum back home. It's based on Tangeum: Swallowing Gold, Jang Da-hye's 2021 novel. It's a K-drama that follows the story of a young woman who is reunited with her stepbrother after 12 years apart. But is the man really her stepbrother? Or is he someone else...? It stars Lee Jae-wook, Cho Bo-ah, and Jung Ga-ram, has 11 episodes and clocked up 3.5 million views last week (Picture: Netflix) In at number six in the most-watched TV charts over on Netflix the past week is another touching K-drama. Tastefully Yours shows what might happen when a slick city restauranteur obsessed with success meets and clashes with a rural chef whose only passion is taste. Hardly a plot spoiler, but guess what? They fall in love! In its homeland the show's known as 'Your Taste'. There are 10 hour-long episodes, although only half a dozen are available to stream right now (Picture: Netflix) This Canadian teen drama thriller is loosely based on the manga Kakegurui and set in an elite school ruled by high-stakes gambling. It follows Yumeko (Miku Martineau), a daring transfer student out to shake up the system. And seek a fair bit of revenge. All 10 episodes dropped on May 15. Last week alone, some five million Netflix subscribers watched it (Picture: Netflix) In the UK, Fred and Rose West are beyond infamous. An evil couple that kidnapped, tortured and killed young runaway women - as well as some of their own relatives - this twisted West Country couple left behind a chilling legacy of chaos and murder. Plenty of documentaries have been made about the Wests before. So, arguably, another one wasn't exactly needed, as such. That said, there's possibly enough in the way of unheard interviews that make this a worthy addition to the catalogue of tales told about this deadly and deranged duo (Picture: Netflix) He was the world's most wanted man when the US intelligence services and military finally tracked him down and killed him back in 2011. This is the story of how Osama bin Laden - the mastermind behind the 9/11 attacks - was found and taken out. Featuring lots of exclusive interviews with CIA insiders and behind-the-scenes material (Picture: Netflix) A young au pair disappears in a wealthy Copenhagen suburb, setting off a tense mystery that exposes all manner of dark secrets among high society in this disturbing Danish thriller. Secrets We Keep follows a woman determined to uncover the truth, even if it means turning on those closest to her. It stars Marie Bach Hansen, Simon Sears and Lars Ranthe, and comes from creators Ingeborg Topsøe (Wildland), Ina Bruhn (Darkness: Those Who Kill), and Mads Tafdrup (Speak No Evil), and is directed by Borgen's Per Fly. Last week it was Netflix's second most-watched television show. And it's good, too - it has a 100% approval rating on Rotten Tomatoes (Picture: Netflix) In at number one? A satirical dark comedy that's not only a fun and wicked watch, but is also a searing attack on the wealthy elite. That's a common theme for TV shows these past couple of years (White Lotus, Succession, Big Little Lies, Billions, The Perfect Couple, etc.). But Sirens here does it very well. It's been created by Molly Smith Metzler and is based on her 2011 play Elemeno Pea. And it's got some cast. Milly Alcock, Glenn Howerton, Kevin Bacon, Bill Camps and Oscar winner Julianne Moore all star. Critics love it. Viewers love it. It's the most-watched TV show on Netflix right now (Picture: Netflix)
Forbes
4 days ago
- Entertainment
- Forbes
Preview The DCU's Supergirl With A Top New Netflix Show
Sirens Netflix You know her from House of the Dragon, James Gunn found her through House of the Dragon, but actress Milly Alcock remains something of an unknown quantity for most viewers. She has been cast as the DCU's Supergirl, who will both appear in this summer's Superman and then be one of the first DC characters to get her own movie immediately, and Supergirl: Woman of Tomorrow is already filming. Alcock has appeared in seven total episodes of House of the Dragon playing a young Rhaenyra Targaryen before being replaced by Emma D'Arcy as her older counterpart, reappearing only in a hallucinatory Daemon dream sequence. Alcock starred in a few shows before landing her big HBO break, but now she has her longest, most high-profile part yet outside of HotD. That would be the Netflix series Sirens, which held the service's #1 spot briefly, in which Alcock stars opposite The White Lotus' Meghann Fahy with Kevin Bacon and Julianne Moore also starring. It's five hour-long episodes which feature Alcock as the devoted assistant slash almost-daughter of Julianne Moore's impossibly rich high society figure, obsessed with saving birds and leading what may be a cult. A cult that her sister, played by Fahy, attempts to rescue her from. House of the Dragon HBO It's a more modern role for Alcock compared to House of the Dragon, and she gets an enormous amount of screentime as the co-lead of the series. This is the first time we get a look at her American accent (she is Australian) which she will no doubt be using in her Supergirl movie. I mean, I suppose it's possible she doesn't, but that would be sort of odd. Alcock was as standout in House of the Dragon where James Gunn admitted that was the first time he noticed her, which was likely true of general audiences. From Sirens, I think it's a good preview of showing a different side of Alcock than we saw in her Game of Thrones spin-off. Two sides of the same actress that's about to have one of the highest-profile roles in a brand-new superhero universe. I think that most of the rest of the cast of the upcoming Superman are known quantities from Rachel Brosnahan's Lois Lane to Nicholas Hoult's Lex Luthor. The one exception I would say here is…Superman himself, David Corenswet, who I would say is probably even less known than Alcock who now has both HotD and a #1 Netflix show under her belt. I can't even point to a singular role of his that is on the same level. The last we saw him was in a supporting part in…Twisters? Again, despite a lot of roles, in the past 10 or so years, he's still pretty unknown. That's about to change. So yeah, I recommend Sirens as a decent drama but also a showcase for Alcock's talents who is great there. We'll see how she fares as Supergirl this summer. Follow me on Twitter, YouTube, Bluesky and Instagram. Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy.
