---
title: "Sirens"
year: 2025
kind: "series"
canonical: "https://film.one/tv/sirens"
fi1m_id: "sirens"
imdb_id: "tt31429675"
tmdb_id: 246992
wikidata_id: "Q130218777"
fi1m_score: 75
critics_score: 68
critics_reviews: 12
published: "2026-09-12"
updated: "2026-09-17T21:12:37.230816+00:00"
region: "AZ"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Sirens (2025)

Created by Molly Smith Metzler · Drama, Comedy

## Identity

Sirens

- **Canonical:** https://film.one/tv/sirens
- **Type:** Series
- **Fi1m ID:** sirens
- **IMDb ID:** tt31429675
- **TMDB ID:** 246992
- **Wikidata ID:** Q130218777
- **Same entity:** https://www.imdb.com/title/tt31429675/, https://www.themoviedb.org/tv/246992, https://www.wikidata.org/wiki/Q130218777

**Fi1m score: 75** · Critics 68 from 12 reviews

*In a sentence:* Julianne Moore makes wealth look like a religion, while Meghann Fahy supplies the language unsuitable for worship

> The three leads make *Sirens* an enjoyable, uneven black comedy, with Meghann Fahy its chief pleasure. The wealthy eccentrics are familiar and the changes of tone can be clumsy, but the sisters’ strained relationship earns our interest.

## Synopsis

Devon DeWitt (Meghann Fahy) and her sister Simone (Milly Alcock) find themselves at odds amid the habits and hierarchies of the wealthy. Julianne Moore plays Michaela Kell, whose charisma gives the sisters another source of friction as family loyalties compete with the appeal of money and influence. Devon brings an outsider’s perspective to a circle in which belonging matters, while the sisters’ shared history complicates their dealings with one another. Across five episodes, the comedy-drama follows the relationships between these three women, with Kevin Bacon as Peter Kell and Glenn Howerton as Ethan Corbin II.

## Review

*Sirens* is an enjoyable black comedy, held together by three excellent performances when its shifts in tone become awkward. Directed by Nicole Kassell, Quyen Tran and Lila Neugebauer, it mixes the peculiar behaviour of rich people with the less easily laughed-off grievances of two sisters. The interest lies in how readily family loyalties can compete with the promise of a more comfortable life. That is enough to sustain five episodes, even when the programme cannot decide how seriously to take its own discomfort.

Meghann Fahy’s Devon DeWitt makes the wealthy company difficult to accept on its own terms. Her profanity is funny because it sounds like impatience with an arrangement everyone else has agreed not to question. We laughed at her swearing, and at the exasperation Fahy puts behind it. There is also enough hurt in her performance to stop Devon becoming merely the person appointed to tell us that rich people are ridiculous.

Milly Alcock makes Simone DeWitt sufficiently difficult that the sisters’ relationship resists an easy allocation of sympathy. Their scenes have the irritation of people who know too much about each other to accept a fresh account of who either has become. Julianne Moore’s Michaela Kell gives their quarrel another complication: her charisma makes the attraction of this wealthy circle credible. Moore is persuasive enough that the cultish atmosphere does not need to be underlined quite as often as it is.

Gregory Middleton and Zoë White photograph the wealth with an inviting brightness, which makes Devon’s resistance more interesting than it would be in an obviously sinister setting. John Paino’s production design gives the characters’ privilege a visible presence, although the luxuriant surroundings are familiar from other programmes about the rich. These spaces make the attraction of belonging clear without much explanation. The images do their work; the satire has to do more than notice how absurd everyone looks inside them.

That is where the writing by Molly Smith Metzler, Bekah Brunstetter and Colin McKenna becomes uneven. The observations about class are recognisable, but the family grievances are more particular and more involving. A joke can sit beside distress without cancelling it, yet here the changes sometimes feel as though the programme has lost interest in the feeling it has just asked us to share. The sisters keep that from becoming fatal, because their resentment remains worth attending to even when the surrounding comedy turns broad.

Editors Jen Bryson, Isaac Hagy, Laura Zempel and Catherine Haight keep the episodes brisk, a considerable advantage in a story with so many competing tones. The speed also means that some emotional shifts receive less space than they need, so the family drama can seem hurried. Michael Abels’s music helps sustain the unease, but cannot make each change of mood convincing. We would have welcomed a little more time with the sisters, even at the expense of another rich person’s eccentricity.

The more useful question is why someone might prefer these people’s company to their own family’s. When *Sirens* takes that wish seriously, the family drama becomes uncomfortable in a way the jokes about wealth seldom manage. It gives the actresses something difficult to play, and they are persuasive enough to make an uneven script worth following. Give it an evening if difficult sisters and expensive bad behaviour are your sort of company.

*Fi1m score 75, published 12 September 2026.*

## What the critics say

Most critics find Sirens entertaining, with praise clustering around Meghann Fahy, Milly Alcock and Julianne Moore. Fahy and Alcock’s strained sisterly relationship gives the camp comedy and soapy mystery an emotional grounding, while Moore’s charisma helps sustain the cult-like atmosphere. The favourable reviews enjoy the absurd details of wealthy lives, the wit and the brisk pacing. Several also credit the series with finding something worth saying about class, family and power beneath its elaborate surfaces.

The spread is wide, however, and tone is the main dividing line. What some critics enjoy as a lively mixture of satire and family drama, others find muddled. The Hollywood Reporter argues that the satire, melodrama and thriller elements fail to cohere; The i Paper sees wasted talent, particularly in Moore’s underused character. Even favourable assessments register reservations: Collider finds the short run leaves too little space to develop the characters and ideas.

## Straight answers

**Is Sirens worth watching?**

*Sirens* is worth watching for anyone who enjoys black comedy about difficult sisters and wealthy bad behaviour, and we scored it 75. Meghann Fahy is the chief pleasure, with Milly Alcock and Julianne Moore close behind, and the three of them carry a script whose changes of tone can be clumsy. The jokes about rich eccentrics are familiar; the family grievances are what hold the attention.

**Where can I watch Sirens in Azerbaijan?**

*Sirens* is streaming on Netflix in Azerbaijan. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Sirens, and is it suitable for children?**

*Sirens* carries a UK 15 certificate and is not suitable for children. The review notes nothing violent or frightening; the adult content is chiefly Meghann Fahy's frequent and impatient swearing, and the programme's discomfort comes from family resentment rather than anything alarming. Older teenagers who can manage strong language should be fine.

**How does Sirens compare to Muriel's Wedding?**

*Sirens* and [*Muriel's Wedding*](https://film.one/film/muriels-wedding) are both uncomfortable comedies about reinvention, social shame and the people left behind, and both have rough changes of tone. *Muriel's Wedding* is the better of the two, because its understanding of loneliness makes those lurches worth forgiving, while *Sirens* sometimes seems to lose interest in the feeling it has just raised. Choose *Sirens* for difficult sisters over five episodes, *Muriel's Wedding* for a single heroine in two hours.

**What should I watch after Sirens?**

After *Sirens*, try [*The Servant*](https://film.one/film/the-servant) (1963, Fi1m 89): For another household where money fails to keep everyone in their place. Then [*Muriel's Wedding*](https://film.one/film/muriels-wedding) (1994, Fi1m 81): Another uncomfortable comedy about reinvention, social shame and the people left behind; and [*The Favourite*](https://film.one/film/the-favourite) (2018, Fi1m 87): Three women negotiate favour and power, with sharper jokes and crueller consequences.

### Reviews we read (13)

- **IndieWire**, Ben Travers (A-): The critic calls the Netflix limited series a slick, satisfying sleight of hand with strong performances from Julianne Moore, Meghann Fahy, and Milly Alcock. It praises the vibrant direction (including by Nicole Kassell), visuals, and thematic exploration of family, wealth, and chosen realities. [Read](https://indiewire.com/criticism/shows/sirens-review-netflix-series-julianne-moore-1235124864)
- **The Guardian** (85/100, inferred): The critic finds Sirens an endlessly entertaining and preposterously fun study in class, family and power dynamics that zips through five tight episodes with wit and a star-packed cast. They single out the addictive plot and the sisters’ gradually revealed history for keeping the story grounded despite its absurdity. [Read](https://www.theguardian.com/tv-and-radio/2025/may/22/sirens-review-julianne-moore-cult-drama-netflix)
- **Empire**, David Opie (75/100, inferred): The critic describes the series as trashy but deliberately so, a beautifully shot deranged escape that digs into the strange dynamic between three women. They single out Meghann Fahy's strong performance as the standout. [Read](https://www.empireonline.com/tv/reviews/sirens/)
- **The Times**, James Jackson (75/100, inferred): The critic calls the Netflix miniseries largely entertaining and swift-paced, with Meghann Fahy’s sweary alcoholic performance lighting up the black comedy. They highlight the cult-like charisma of Julianne Moore’s character and the hard-to-pigeonhole mix of satire and family drama. [Read](https://www.thetimes.com/culture/tv-radio/article/sirens-netflix-review-meghann-fahy-julianne-moore-60j6nhkfl)
- **Variety**, Alison Herman (75/100, inferred): The series is a funny, surreal cult dramedy with a hypnotic hold thanks to exceptional performances from Julianne Moore, Meghann Fahy, and Milly Alcock, though tonal switchbacks prevent it from being perfect. [Read](https://variety.com/2025/tv/reviews/sirens-review-julianne-moore-netflix-1236403663/)
- **Vulture** (75/100, inferred): The critic finds the series a blast thanks to the complicated, bristling dynamic between the two sisters played by Meghann Fahy and Milly Alcock. It singles out their raw performances and the domestic soap-opera elements as the main draws over the cultish or class-critique aspects. [Read](https://www.vulture.com/article/sirens-netflix-series-review.html)
- **The Telegraph**, Anita Singh (70/100, inferred): The review describes Sirens as blackly comic wealth TV that fills the White Lotus void, luxuriating in absurd details of the ultra-rich lifestyle while whipping along with a healthy sense of the absurd. It singles out Kevin Bacon’s appearance as a treat and notes the outsider perspective of the grungy protagonist. [Read](https://www.telegraph.co.uk/tv/0/sirens-netflix-review/)
- **The AV Club**, Manuel Betancourt (C+): The critic finds the series a much messier version of Big Little Lies that struggles with tone and narrative coherence despite committed performances from Julianne Moore and Meghann Fahy. It drifts into too many directions without fully committing to its satirical or soap-opera elements. [Read](https://www.avclub.com/sirens-review-tv-netflix-julianne-moore-meghann-fahy)
- **The Hollywood Reporter**, Daniel Fienberg (40/100, inferred): The critic finds the series an erratic hodge-podge of satire, melodrama, and thriller elements that fails to cohere, despite a strong cast led by Meghann Fahy. The mythological references and tonal inconsistencies make it feel half-baked. [Read](https://www.hollywoodreporter.com/tv/tv-reviews/sirens-review-meghann-fahy-julianne-moore-netflix-1236224598/)
- **The i Paper**, Emily Baker (20/100, inferred): The critic calls the series a complete misfire and shlocky dark comedy-drama despite its cast. They single out the waste of talent, especially Julianne Moore's underused character and the inconsistent tone mixing dark themes with comedy. [Read](https://inews.co.uk/culture/television/sirens-review-cant-believe-julianne-moore-said-yes-3706191)
- **Evening Standard**, Dominique Hines: The review hails the five-episode Netflix series as a sharper, more addictive cult drama than White Lotus, with biting wit, emotional depth and magnetic performances led by Julianne Moore. It singles out the tight, no-filler pacing and the exploration of class, family and power as what makes it binge-worthy. [Read](https://www.standard.co.uk/culture/tvfilm/forget-white-lotus-julianne-moore-s-sirens-addictive-cult-drama-you-need-now-b1229233.html)
- **NME**, Nick Levine (4/5): The critic finds the miniseries a scintillating and addictive binge with a campy tone that mixes soapy mystery with sharp observations on class and sisterhood. Strong performances by Milly Alcock and Meghann Fahy are singled out for peeling back layers of complex, damaged characters. [Read](https://www.nme.com/reviews/tv-reviews/sirens-review-julianne-moore-netflix-3864201)
- **Collider**, Therese Lacson (7/10): The series shines thanks to standout performances from Milly Alcock, Meghann Fahy, and Julianne Moore and raises compelling points about women navigating a man's world. It is held back by tonal shifts and an episode count too short to fully develop its many ideas and characters. [Read](https://collider.com/sirens-netflix-review-julianne-moore-milly-alcock/)

## Details

- **Created by:** Molly Smith Metzler
- **Creator:** Molly Smith Metzler
- **Director:** Quyen Tran, Nicole Kassell, Lila Neugebauer
- **Writer:** Molly Smith Metzler, Colin McKenna, Bekah Brunstetter
- **Cinematography:** Gregory Middleton, Zoë White
- **Editor:** Laura Zempel, Catherine Haight, Jen Bryson, Isaac Hagy
- **Music:** Michael Abels
- **Production design:** John Paino
- **Costume design:** Caroline Duncan
- **Producer:** Bruce Dunn, Kristyn Macready, Maureen Shepard
- **Cast:** Julianne Moore as Michaela Kell; Meghann Fahy as Devon DeWitt; Milly Alcock as Simone DeWitt; Kevin Bacon as Peter Kell; Glenn Howerton as Ethan Corbin II; Bill Camp as Bruce DeWitt; Felix Solis as Jose; Josh Segarra as Raymond
- **Release (Azerbaijan):** 22 May 2025
- **Genres:** Drama, Comedy
- **Trailer:** https://www.youtube.com/watch?v=nxSpZ9khchU

## Where to watch in Azerbaijan

- Netflix: streaming

*Checked 2026-09-12.*

Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Servant* (1963), Fi1m 89: For another household where money fails to keep everyone in their place — [Fi1m page](https://film.one/film/the-servant.md)
- *The Housemaid* (1960): Domestic ambition and class anxiety become considerably more dangerous inside another comfortable household
- *Muriel's Wedding* (1994), Fi1m 81: Another uncomfortable comedy about reinvention, social shame and the people left behind — [Fi1m page](https://film.one/film/muriels-wedding.md)
- *The Favourite* (2018), Fi1m 87: Three women negotiate favour and power, with sharper jokes and crueller consequences — [Fi1m page](https://film.one/film/the-favourite.md)
- *My Brilliant Friend* (2018): For a longer, more patient examination of friendship complicated by ambition and class

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/tv/sirens