Entertainment
Matthew Rhys’ Horror Series ‘Widow’s Bay’ Is Apple TV’s Weirdest, Boldest Show Yet
If there’s one streamer right now that is truly in a league of its own, it’s Apple TV. In the last few years, it’s become the destination for original, inventive sci-fi, with series like Severance, For All Mankind, Pluribus, and Silo exploding in popularity, a sharp right turn from the Ted Lasso fanfare that helped cement it as a legit streamer worth your money. Seth Rogen‘s meta comedy The Studio dominated the Emmys, Jon Hamm‘s big return to TV has turned into a hit, and even Godzilla has called Apple TV home. If there’s one thing Apple TV is, it’s consistently unpredictable.
What’s refreshing about many titles on the platform is that they don’t try to appeal to everyone, which gives the shows far more breathing room to find their own unique voice, take storytelling risks, and establish a loyal viewership rather organically, no matter how niche. With all of this in mind, Widow’s Bay — which stars Matthew Rhys as the mayor of a would-be travel destination hotspot that’s weighed down by some (a lot) of skeletons in the closet — is perhaps the most daring, weirdest show on Apple TV for several reasons. The series, which is part-workplace comedy, part-mystery, and part-trippy horror, might struggle out of the gate, but once it wades deep into its narrative, you won’t want to return to the mainland.
What Is Apple TV’s ‘Widow’s Bay’ About?
Created by Katie Dippold, an excellent comedy writer with credits including Parks & Recreation, The Heat, and The Big Gay Sketch Show, Widow’s Bay takes place in the small New England town of the same name. Widow’s Bay is stuck in the shadows of Martha’s Vineyard and Cape Cod — two nearby spots that are pure catnip for tourists — as well as the past, complete with outdated technology, ranging from bulky computers to almost nonexistent Wi-Fi. None of this screams “vacation,” and out of all the residents, Mayor Tom Loftis (Rhys) knows this the most.
Tom, however, is determined to change public perception of Widow’s Bay, even if the island’s quirky residents seem to be actively doing everything in their power — whether they realize it or not — to prevent any positive change or advancement from happening. Rhys wears Tom’s agony on his sleeve and is fueled by a short temper and nonexistent fuse, serving as a surrogate of sorts for the audience, who is undoubtedly thinking, “What the hell is going on at Widow’s Bay?” Chief among the “local lunatics” is Wyck (Stephen Root), who wastes no opportunity to point out that the island is plagued by a centuries-old curse, which has been, in fact, awakened by “the fog” that has come in over the water.
Tom isn’t buying it — that is, until he has no choice but to buy it. After being attacked by a long-haired, long-nailed old woman on the side of the road at night — something pulled straight from a horror movie — Tom starts to wonder if, maybe, there is some truth to these strange occurrences and local lore. Suddenly, it becomes impossible to deny the quaint town’s checkered past and eerie beginnings, and Tom finds himself at the heart of a freaky, ghostly, and downright peculiar mystery.
Apple TV’s ‘Widow’s Bay’ Is Slow To Nail Down Its Horror Identity
Widow’s Bay immediately establishes itself as a dry, workplace comedy, complete with the misfits that make up Tom’s staff. Patricia (Kate O’Flynn) is an intense, quiet, yet strong-willed employee who struggles to be heard or fully appreciated. She’s responsible for many quick, witty lines that you just barely catch, but that always leave a smirk on your face. There’s also Rosemary (Dale Dickey) who spends more time coughing up a lung than really getting anything else done. Jeff Hiller‘s character is deadpan, unenthusiastic, and largely unmotivated, whereas Nancy Lenehan plays perhaps the most cheerful of the lot, even though her character spends her days giving tours of Widow’s Bay’s historical society, where she is forced to share horrific details about the town’s past (spoiler alert: there are cannibals).
For its first few episodes, it seems like Widow’s Bay is a comedy with some spooks sprinkled in here and there. It’s Tom’s story, as he tries to find himself as mayor, reshape the narrative of the town, and connect with his son, Evan (Kingston Rumi Southwick), who is rebellious and not-so-subtly points out that everyone thinks Tom is a coward. Hanging over their complicated dynamic is the sadness of Tom’s late wife, who died from complications with childbirth.
There’s no doubt about it, though, Tom is the main character — until he kind of isn’t. While he remains the anchor of the story, the show does take a bold turn and makes Widow’s Bay the main character, building out the lore and exploring the many ways that the island has affected its residents and how this curse has manifested over the centuries. Suddenly, the jokes and quick wit are somewhat sidelined, and Widow’s Bay pivots into a full-on folk horror narrative for the viewer to piece the greater mystery together. It can definitely feel a bit uneven in tone and pacing, but it compels you to keep watching so you can find out what the fog, possessions, and sea witches are all about.
‘Widow’s Bay’ Takes Very Bold Storytelling Swings Across Its 10 Episodes
Widow’s Bay reaches its full potential once it starts to fully embrace horror. It’s almost as if the series needed permission to go all in, which it finally does in the very well-executed Episode 4, following Patricia for its entirety and delving into her tragic backstory, as well as why she’s such an outcast. O’Flynn really gets a chance to thrive here, showcasing a complex range of emotions, from devastatingly alone to determined and manic, before submerging Widow’s Bay into a strange, fiery nightmare in the best way. Root once again understands the assignment and nails his quirky role, starting as an oddball and evolving into someone you’d want on your team, with some of Rhys and Root’s best scenes being the ones they share.
Widow’s Bay‘s biggest risk takes a page out of The Righteous Gemstones‘ book by devoting an entire episode to a completely different time period and the island’s beginnings. While that might not sound appealing, it’s actually a very imaginative and engaging way to kick off the second half of the season and, in turn, reset the story’s focus to how Tom could free the island of its curse. The founder of Widow’s Bay and his wife are played by two excellent guest stars who easily carry the weight of a scary, standalone episode. Building out the world of the island and grounding it in horror is key, and who better to pull this off than the genre’s own Ti West serving as director?
The only real downside to this shift is that the story becomes somewhat removed from Rhys’ Tom, with the actor not being able to tap into his comedic side as much as one might’ve hoped for in a horror comedy. When Tom becomes hellbent on putting an end to the island’s curse, however, Widow’s Bay really starts to cook with gas. Small details about Tom’s marriage and family emerge, leading to two shocking reveals at the end of the season that are pulled off so impressively that they’ll leave you wondering what a second season could have in store. At first, you might not be so sure that you’ve chosen the right travel destination, but Widow’s Bay becomes a haunting, deeply rewarding, and oddly charming series if you stick with it.
Widow’s Bay premieres April 29 on Apple TV.
- Release Date
-
April 29, 2026
- Network
-
Apple TV
- Showrunner
-
Katie Dippold
- Directors
-
Hiro Murai
- Writers
-
Katie Dippold, Kelly Galuska
- Widow’s Bay is unafraid to dive head-first into character-first episodes.
- By the end of 10 episodes, Widow’s Bay has firmly established a gripping mystery.
- Widow’s Bay is a bit slow to fully embrace its horror storyline, resulting in some uneven pacing.
You must be logged in to post a comment Login