This May coincidentally brings us two limited series centered on emotionally troubled and estranged sisters seeking to reconcile their past issues. The first of these, Netflix’s five-episode miniseries “Sirens,” combines dark comedy with intense familial drama in a way that feels familiar, reminiscent of HBO’s “The White Lotus.” “Sirens” attempts to create a unique identity within the burgeoning “eat-the-rich” genre, but with varying degrees of success. It’s hard to avoid comparisons to Amazon Prime’s “The Better Sister,” which debuts a week after “Sirens” and tackles similar themes with a more effective dramatic execution. “Sirens,” however, distinguishes itself with its bold and sharp humor, offering laughter and uplifting moments amidst a show that feels overcrowded and struggles with tone consistency.

Devon (Meghann Fahy), a struggling recovering alcoholic in her thirties from Buffalo, New York, works at a dead-end fast-food job while caring for her father, Bruce (Bill Camp), who has early-onset dementia. Upon returning home one day, she discovers a lavish fruit basket at her door, a gift from her estranged younger sister Simone (Milly Alcock), who enjoys life on a billionaire-run remote island.

Furious over Simone’s seemingly mocking gesture, Devon embarks on a spontaneous 17-hour journey without essentials, aiming to confront her sister about her neglect of family responsibilities. Questions arise, like who will care for her father in her absence or how she afforded the travel costs, but the script sidesteps these issues. This is where the primary flaw in creator Molly Smith Metzler’s show becomes apparent. In a more whimsical, light-hearted narrative, such details might go unnoticed. However, in a series that emphasizes its characters’ unresolved issues and deep-seated trauma, overlooking these specifics suggests careless writing. Despite Devon’s journey serving merely as the catalyst for the plot, the oversight is glaring.

Naturally, “Sirens” kicks off when she barges in on the island unannounced and finds her sister in a high society cult. Simone works for Michaela, or Kiki (Julianne Moore), the goddess of this little island — and second wife to billionaire Peter (Kevin Bacon) — with a huge staff of “servants” in an elaborate mansion that could house a small village. Kiki is strange and creepy and villainous, but Simone is completely bewitched by her. As her personal assistant, she fullfils Michaela’s every need even before she can express them. Initially, Devon’s only goal was to ask Simone to come home and ease her burden, but when she sees the eccentric and exploitative nutjobs her sister’s employed by, she makes it her mission to get Simone out of there ASAP.

But to do so, she needs to join the lunacy for a while and unravel a potential murder mystery, navigating among the creeps and lovers and secretive staff employees who make this place a total madhouse.