Sirens premiered on Netflix this week with a series that, at first glance, evokes The Stepford Wives, but it also openly delves into the world of cults like NXIVM (explicitly named) and Scientology. More than that, it offers a study of misogyny, manipulation, and the psychological mechanisms that act upon traumatized individuals, those with character disorders, or all of the above. The standout element is a cast led by three generations of remarkable actresses: Julianne Moore, Meghann Fahy, and Milly Alcock—especially the latter two, who deliver powerhouse performances.

First things first: the casting is phenomenal. Meghann and Milly genuinely look like sisters. Both rose to international fame through HBO Max series—Meghann in the second season of The White Lotus and Milly in House of the Dragon—and here, they’re nearly unrecognizable, once again proving their remarkable range.

The series centers on the conflict of Devon DeWitt (Fahy), whose chaotic life hits rock bottom when she asks her younger sister, Simone (Alcock), for help—and receives only a fruit basket in return. Acting impulsively, she travels across the country to confront Simone, who now lives on a remote island as the personal assistant to self-help guru and “animal preservationist” Michaela Kell (Moore), surrounded by a devoted circle of followers. From the moment she arrives, Devon senses something is off: the atmosphere bears all the hallmarks of a cult, and Simone appears completely transformed—submissive, reverent, entangled in a symbolic (and dysfunctional) bond with Michaela. Determined, Devon sets out to rescue her sister and expose the leader. But, of course, things don’t go as planned.

Created by Molly Smith Metzler (Maid), Sirens is more than a dark comedy—it’s a timely portrait of the dangers posed by abusive groups that disguise themselves with inspiring rhetoric and promises of emotional healing. “There are dramatically true moments that will make people uncomfortable. ‘Operatic’ is a word I like to use to describe it. It’s truly a dark comedy—with a Greek mythology vibe,” Metzler told Tudum. Interestingly, Sirens began as a stage play Metzler wrote while studying at Juilliard, originally titled Elemeno Pea.

The play’s title alluded to The Princess and the Pea, and its 2011 staging was praised by critics who highlighted Metzler’s ability to balance caricature with emotional depth. In both the play and the series, what she accomplishes is rare: turning characters who could easily be reduced to villains or stereotypes into layered, contradictory, and above all, human figures.

The story unfolds throughout a weekend at the Kell family’s seaside estate, where Devon tries to unravel who Michaela really is—and what’s happening to her sister. Married to billionaire Peter Kell (Kevin Bacon), Michaela—or “Kiki,” as she prefers—is sharp, seductive, and acutely aware of every move Devon makes. In just five episodes, the lives of these women are radically and unpredictably transformed. None of them is quite who they seem. (And no, I won’t spoil anything.)

Among the many themes the series tackles, one of the most delicate and piercing is how patriarchal society places a woman’s worth in her ability to be a mother. In Sirens, youth, beauty, and fertility operate as currency, especially in the arena of marriage. And while the protagonists may be sirens who enchant, it’s still the men who decide which one gets to rule—and for how long—before being replaced. (Oops. Maybe a small spoiler.)

Metzler delivers a bitter, visually elegant satire that draws on mythology, theater, and social critique with equal force. And in the end, it’s impossible to watch without asking: who’s really in control, and at what cost?