Story & Setup
Like many quaint New England island towns (at least if you ask Stephen King), Widow’s Bay is full of old history and rampant superstitions. Mayor Tom Loftis (Matthew Rhys) wants to modernize and revive the place into the next Martha’s Vineyard (making it a hopping tourist destination), even though the island’s old guard doesn’t want that, doesn’t like him, and believes local legends about hauntings, curses, sea hags, and other dangers are real. Despite decades of relative calm, it turns out they’re right… and it’s up to Mayor Tom Loftis (Matthew Rhys), unpopular local Patricia (Kate O’Flynn), and the superstitious Wyck (Stephen Root) to do something about it.
A Killer Horror-Comedy Loaded With Deep Genre Love
Two of the best elements of “Widow’s Bay” are baked into the design. First is the choice to treat its myriad horrors in an anthology-esque, episodic way. Though there is an overarching narrative and protagonist, the various supernatural ills vary widely between episodes (it’s a really cursed island). They have nods to various beloved horror films without being derivative (who sees a thick, glowing fog in the opening and doesn’t think of John Carpenter’s “The Fog”?), and each tale feels like a novel new route forward, but in the same vein. Second, the series’s choice of a horror-comedy tone allows for tons of fun and nods to masterpieces to be had here, with solid scary moments and strong moments of comedy. It’s a fun ride that’s never stale, and horror fans will have a lot of Easter Eggs to appreciate.
Matthew Rhys is an excellent lead, giving a fantastic performance in the series’ dramatic and frightening moments while also landing the comedic beats well. The fact that his character is a well-meaning coward who doesn’t initially believe any of these tales makes for many interesting scenes as he realizes their truth, and those traits are played for comedy well where appropriate. Stephen Root is equally excellent as the Old Guard curmudgeon who wants the town to be safe from myriad terrors, however fantastic. It’s a nice contrast against Rhys’ citified Mayor, and the evolving relationship between the pair is well-scripted and performed.
Kate Dippold’s creative direction shows a great love for and thorough understanding of the kinds of local myths that might populate a town like this, and the supernatural underpinning of what’s really going on is exciting. Hiro Murai directs half the series’ episodes, and he shows a seasoned command of the different ways different threats should feel. The special effects are well done, adding layers of realism, and it’s a solid series overall. Perhaps the primary issue with “Widow’s Bay” is that, once the real crisis at the island’s heart starts going, it loses a little steam for a few episodes. It’s not that the episodes don’t work, they do. That said, since the pivot is a relevant stretch from the pace and rhythm that’s been established, it takes a minute for the show to once again find its sea legs (sorry).
It’s a fun ride that’s never stale, and horror fans will have a lot of Easter Eggs to appreciate
Verdict: Matthew Rhys and Stephen Root Are The New Dynamic Duo
I love a good small-town-besieged-by-terrors horror trope, and it’s particularly great when it is utilized by showrunners and directors who truly understand the tropes and histories of this sort of subgenre. At its best, it’s a recipe for a good time, and “Widow’s Bay” offers that in spades.
Matthew Rhys is exceptional at delivering earnestness, terror, and laughs where necessary, and Stephen Root truly commands the screen whenever Wyck is around. It’s the same odd couple type of chemistry that makes “Tucker and Dale vs. Evil” or “The Nice Guys” work so well, and they’re excellent together.
Strong execution, great performances, and an ever-evolving, never stale banger of concept (that pays continuous homage to the horror lore of yore) make “Widow’s Bay” entertaining, must-see TV.
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