The lives and pursuits of the exceedingly affluent have become a staple in film and television: Sirens unfolds on an island where a billionaire couple manages a philanthropic estate, while two sisters from humble beginnings enjoy a poignant reunion.

In the realm of Greek mythology, sirens are fascinating hybrid beings, part human and part bird, characterised by their feathers and claws. They reside on remote islands. The series “Sirens” engages with the myth through a wealth of allusions.

The narrative unfolds on an imaginary island situated off the coast of New York. The elegant Cliff House is perched right on the edge of the cliffs. Nonetheless, the proprietor, Michaela Kell, affectionately referred to as Kiki, is chiefly committed to a rescue centre for birds of prey.

Fissures in the polished exterior

A sort of enchanting melody weaves through the scenes repeatedly, enveloping the myriad staff and the equally affluent and anxious guests in an intriguingly captivating glow. Simone, Michaela’s no-nonsense personal assistant, has everything firmly in hand.

However, the polished, pastel-hued facade starts to fracture when Simone is unexpectedly visited by her sister Devon, who possesses a far more grounded perspective on the upper echelons of society.

Unusual practices, watchful eyes, rigid regulations: To the impetuous Devon, the entire affair appears akin to a cult or perhaps an extraterrestrial realm. She brings to her sister’s attention the painful family history and, after a considerable passage of time, looks for assistance in tending to their ailing father.

A panoramic perspective on society

The cliff house, with its carefully curated grandeur, its manicured lawn reminiscent of the English countryside, and the precipitously steep steps leading down to the beach, serves as a striking metaphor.

At the pinnacle are those who dictate the norms, regardless of how peculiar they might appear—the overarching perspective of society. Others toil and make sacrifices, often in roles such as care work, or manage to get by like domestic staff.

Men merely occupy the periphery

Molly Smith Metzler, the author, crafted the series “Sirens” based on a previous play. She also discussed the dynamics between men and women, as well as the divide between the affluent and the impoverished.

The captivating Julianne Moore in the role of Michaela, Milly Alcock as Simone, and particularly Meghann Fahey as the edgy Devon, occasionally seem to transcend the ordinary, embodying an almost ethereal quality.

They don toga-like garments, while the predominantly one-dimensional, ineffectual men seem utterly powerless against their allure.

Aside from Kevin Bacon portraying Michaela’s husband, the billionaire Peter, he finds himself inexplicably at the very bottom of the social hierarchy.

A remarkably inventive series boasting an impressive aesthetic

“Sirens” presents itself as a refreshingly original series from the outset, featuring striking visuals, cleverly crafted dialogues, and a palpable sense of tension throughout.

In the end, it serves as a sharply ironic farewell to a realm of glitz and wealth that lures individuals in like a siren’s call, only to send their aspirations for joy tumbling over the edge.