Apple TV’s output of quality shows has continued to impress me. Between Severance, Silo and Pluribus, it’s a streaming platform worth keeping an eye on specifically for its exclusive content. Taking a swing at the comedy/horror genre, Apple TV’s latest concoction, Widow’s Bay, is a delightfully nostalgic blend of everything that I personally adore about the genre - sprinkles of Stephen King, Midnight Mass, old-school Peter Jackson, and some Lovecraftian terror are the key ingredients here in a melting pot that doesn’t always hit the mark, but when it does, it hits it harder than any show I’ve watched in recent memory.

Widow’s Bay takes place on the quiet titular island with few inhabitants leading an isolated life from the mainland. The mayor, Tom Loftis, is struggling to keep the town afloat as a primary tourist attraction to drive revenue while also dealing with a teenage son going through the motions of pre-adulthood. That’s when mysterious things start happening on the island; supernatural occurrences that could be directly linked to the Widow’s Bay’s cursed reputation.



I’ll avoid mentioning any further spoilers since Widow’s Bay is best experienced blind. What I will say is that each episode, gracefully running 35-40 minutes, seems to follow isolated incidents on the island focusing on various characters. It’s almost episodic in nature like Scooby-Doo (actually, a lot like Scooby-Doo, come to think of it) until it starts connecting the pieces to form a bigger picture. Until then, Widow’s Bay prides itself on drip-feeding you clues that don't make complete sense, they just add to the overall mystique of its unique premise.

It’s almost episodic in nature like Scooby-Doo (actually, a lot like Scooby-Doo, come to think of it) until it starts connecting the pieces to form a bigger picture.

To get the one big negative out of the way, the idea of its “episodic” monster-of-the-week structure works very well in isolation, but the show’s first half doesn’t cohesively tie everything together, even by the season’s finale. Perhaps there are greater plans for later seasons, we don’t really know at this point, but viewers hoping for things to make sense by the end will probably leave with more questions than answers. A new season or two would only be beneficial (luckily, the show has already been renewed for a second season), but you have to be okay with not getting every question answered just yet.



In fact, Widow’s Bay is a hard series to nail down as a viewer because of how disjointed its first half feels. Obviously this is done on purpose to interweave story threads for later episodes, but if it doesn’t grab you immediately, you probably won’t be able to get on its bizarre wavelength and tone. The joy comes in going along for the ride and asking questions later, because what an enjoyable ride it is.

Widow’s Bay’s strength is how well it blends comedy and horror. This is, by all means, a hilarious series with perfectly-timed comedic moments that land thanks especially to a committed, charismatic and often goofy performance from Matthew Rhys as Tom and especially Kate O’Flynn as Patricia, who plays Tom’s awkward, dead-eyed assistant. The comedy doesn’t work separately from the horror either. More often than not, it plays into the absurdity of its scares, bordering on satirical. However, the tone always remains consistent: when it wants to be funny, it is, but when it wants you to lock in on the horror, it’s unwavering in how expertly it builds suspense and tension in some scenes.



The show’s third episode, for example, is probably the most terrifying in the whole series. At the same time, there’s a moment when the horror is literally booted by an unexpected comedic beat that had me roaring with laughter. Widow’s Bay does this a lot and it’s so incredibly fun and refreshing to watch – reminding me of Peter Jackson’s early days pre-Lord of the Rings when he made Braindead and the supremely underrated The Frighteners.

The comedy doesn’t work separately from the horror either. More often than not, it plays into the absurdity of its scares, bordering on satirical.

Yet, Widow’s Bay doesn’t skimp out on some of its more obvious inspirations, borrowing the best elements from Stephen King and H.P. Lovecraft too. There’s a very big recurring plot point in the show that’s never directly addressed, yet the implication of it hangs over the series like a dark, looming cloud all the time. It’s a really fun spin on the Chekhov’s Gun principle, and even by the end, my inner Lovecraftian fan was satisfied knowing what we imagine is infinitely more horrifying than actually seeing it.



Widow’s Bay wouldn’t be the same without some strong direction and that’s where it works fantastically. You need directors who know how to balance those vital comedic and horror elements without them jarringly overlapping. Hiro Murai, the director for a large majority of this season’s episodes, absolutely nails that balance. Guest director Ti West (Pearl, The Innkeepers) even directs a strong, solemn sixth episode with a few surprise guest actors that should put a smile on your face if you’re a big fan of Mike Flanagan’s Midnight Mass like I am.

Yet, Widow’s Bay doesn’t skimp out on some of its more obvious inspirations, borrowing the best elements from Stephen King and H.P. Lovecraft too.

The most outstanding element of Widow’s Bay is, for once, its protagonist. Tom is simply a magnificent main character to root for. He’s charming, a bit silly, and completely unprepared to deal with everything that gets thrown his way. Part of the show’s charm is seeing how Tom maneuvers through one supernatural disaster after another while trying to make sense of it all, plus juggling his tumultuous personal life. When so many shows these days are hellbent on making its protagonist a blank canvas with the personality of wet cardboard, it’s so good to see one that actually feels like a fully-developed, relatable bloke that makes marginal errors like any person would in his shoes.



At the core of the series is a great mystery element that keeps Widow’s Bay thumping along to a climax that feels big, yet subdued in what it wants to achieve. The show’s twists and turns are incredible, but only if you started piecing the puzzle together yourself as you watched each episode. It has been compared to an adult Scooby-Doo a lot (minus the dog), and that’s honestly the best way to describe it.

Widow’s Bay is slice of television greatness for the horror genre, managing to successfully blend amazing comedy with a gripping central mystery that takes its time to unravel. It’s easy to get overwhelmed by the amount of weirdness the show bombards you with in its first half, but rest assured, it all builds towards something special. Minor flaws aside, it’s absolutely a must-watch and a strong recommendation from me to just grab Apple TV for a month… until season 2. Or season 3 of Severance. Hurry up, Ben Stiller.

All ten episodes of Widow's Bay are currently streaming on Apple TV.