White Lotus Corporation plunges into the lethal abyss of a homicide scandal.
As Meghann Fahy's character, Devon DeWitt, treads the opulent grounds of the Kell family estate in ripped clothes, seeking her sister Simone, she can't help but feel like an alien. A pristine lawn stretches before the lavish villa, adorned with expensive statues and a swarm of well-dressed staff busy catering to guests for an extravagant gala dinner.
The Netflix series "Sirens" delves into themes such as class divisions, workplace hierarchies, family traumas, and care work. The show's creator, Molly Smith Metzler, is known for shining a light on America's social gaps, having previously worked on shows like "Shameless" and the critically acclaimed "Maid." In "Sirens," she turns her attention to the upper crust. Working-class siblings Devon and Simone reunite along the posh coast of New York, where the wealthy and beautiful vacate during the summer.**
Lush locales like grand estates and resorts have become popular settings in series. None more so than the critically acclaimed "White Lotus," which examines sex, crime, and the decadence of the elite's playgrounds. The recently aired third season, which transpires on the tropical island of Koh Samui, has even sparked a travel boom on Instagram, with fans recording themselves at the series' locations.**
However, the tales of the wealthy travelers, such as those portrayed in the miniseries "A New Summer" on Nantucket or in "Sirens" among the East Coast aristocracy's beach paradise, are anything but alluring. It seems that tearing down the rich to make them appear ridiculous is a way for the entertainment industry to grapple with the idea of the 1% versus the 99%. Often, these characters are depicted in exaggerated, caricature-like manners.**
Ruben Östlund's 2022 Cannes Palme d'Or-winning comedy "Triangle of Sadness" follows in this vein. Like the aforementioned series, it provides a less-than-appealing glimpse into the lives of the wealthy, offering a touch of horror as viewers witness their bizarre and unsavory social behavior up close. One wonders: Why are we drawn to watching privileged individuals seeming to enjoy themselves, only to experience disaster after disaster?Occupations like vomiting at a gala dinner (as in "Triangle of Sadness"), a dysfunctional family of a financial speculator crumbling apart (the "White Lotus"), or billionaires treating investigating police officers with contempt (in "A New Summer") may not be aspirational, but they still manage to draw viewers in, creating a comfortable catharsis as the supposed ruling class exhibits ethical decline and blatant ignorance, despite their wealth.**
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These forays into high society worlds often lead to dark and deadly results. In "White Lotus," it's the foolish and arrogant behaviors of the wealthy that result in tragic consequences. But in "A New Summer," it's a murder where the victim is a working-class woman who is lost and played by Meghann Fahy, also known for her role as the proletarian sister, Devon, in "Sirens," who infiltrates the realm of the affluent uninvited.**
On the one hand, there's undoubtedly a human fascination with the opulent mansions, villas, and resorts that make these cinematic stories engaging, providing a tantalizing peek into closed-off worlds, whether they're realistic or not. On the other hand, viewers find solace when they see the rich, powerful, and beautiful—representatives of the capitalist ruling class—violate moral norms and engage in decadent behavior.**
"Sirens," however, differs from the rest. The series also highlights stories of workplace hierarchies and dependency relationships that arise from these class conflicts. Through the tale of sisters Devon and Simone, it demonstrates the longing and desire in these dependency relationships and the social hierarchies they create.**
Simone's exploitation, embracing her wealthy boss like a teddy bear during an emotional crisis, is never questioned by her. Her sister Devon attempts to free her from this relationship, but ultimately fails. Instead, she offers a rundown rowhouse in proletarian Buffalo, where their confused father resides. This is the very misery Simone has escaped through her new dependency relationship. Even Simone's wealthy boss is ultimately just an employee of her arrogant husband. These series don't provide a liberating resolution to these dependencies.**
Perhaps the true allure of this genre lies in its ability to vividly showcase the insurmountable class barriers that exist, which find popularity as a pop culture horror trend. At the same time, viewers can revel in the fantasy of wealth themselves, feeling morally superior as their own existence doesn't seem as morally repugnant as that of the wealthy.
In the context of pop culture and entertainment, the Netflix series "Sirens" delves into themes of class divisions, workplaces, and familial traumas, particularly focusing on the lives of the upper crust on the East Coast. Meanwhile, the acclaimed HBO series "White Lotus" scrutinizes the decadent lifestyle of the elites, offering an unflattering portrayal of their social behavior while simultaneously sparking a travel boom among fans.
