Widow’s Bay, Katie Dippold’s new razor-sharp Apple TV series about a cursed costal town, is a hauntingly good horror comedy that achieves a masterful blend of nail-biting terror and deliciously dark humor.

The unique, carefully crafted tone is one that Dippold dreamed of recapturing for decades, ever since she visited a haunted house in Long Branch, New Jersey as a kid. The mix of adrenaline-pumping excitement, genuine fear, and giggle fits she experienced when seeking out scares lit a creative spark that burned for decades and inspired the genre-bending triumph.

Unlike Dippold, I’ve never set foot near a haunted house. I can count the number of horror films I’ve watched in my lifetime on two hands. And in the spirit of self-preservation, I generally avoid the frightening genre altogether. In other words, I’m not the core demographic for Widow’s Bay. But I faced my fears, dove deep into the murky waters of the mysterious series, and unexpectedly surfaced with a new TV obsession. 

Widow’s Bay, which premieres with two episodes on April 29, takes viewers to the titular (and entirely fictional) New England town that’s blissfully free from modern-day technology, reliable cell service, and — crucially — tourists. In hopes of drawing a bustling summer crowd, Mayor Tom Loftis (Matthew Rhys) invites a high-profile reporter to spend a weekend on the island. Much to Tom’s delight, Widow’s Bay is surprisingly dubbed a destination as desirable as Martha’s Vineyard. (To quote Tom: “Fuck Cape Cod!”) In trying to move his town forward, however, he’s forced to confront its dark history, ripe with chilling superstitions that he spent years dismissing as ridiculous tall tales.

As Tom navigates supernatural setbacks and seeks to understand Widow’s Bay’s elaborate lore, his dysfunctional team, the show’s bright supporting stars, hold down the fort at Town Hall. Curmudgeonly gossip Rosemary (Dale Dickey) and her dramatic pal Dale (Jeff Hiller) run the records room, while Tom’s elderly assistant Ruth (K Callan) clocks in for a whopping two hours before she heads home to nap. While investigating the town’s terrors, Tom leans on his misfit colleague Patricia (Kate O’Flynn), regularly phones Sheriff Bechir Clemons (Kevin Carroll), and begrudgingly picks the brain of lifelong resident Wyck (Stephen Root), who seems less like a crazed conspiracy theorist and more like a wise doomsday prepper with each passing day. Though the mayor feels a great duty to shield residents and unsuspecting out-of-towners from danger, his main priority is protecting his unruly teenage son, Evan (Kingston Rumi Southwick), who longs to leave the island behind.

When assembling the colorful characters of Widow’s Bay, Emmy-winning casting director Allison Jones (Freaks And Geeks, Veep) unsurprisingly struck gold again. Rhys, also an executive producer, skillfully captures the complexities of a man in power who’s struggling with imposter syndrome, frustrated with traditionalist locals, and desperately clinging to denial. Moments of heightened absurdity showcase The Americans star’s adept comedic timing, physical comedy, and charm. But as Tom fights internal and external demons, Rhys dials up the drama, exuding palpable fear and running the gamut of emotions in his facial expressions. As the series tortures Tom, tests moral compasses, and examines the lengths people will go to secure safety and freedom, Rhys’ raw performance anchors the series, ensuring viewers feel the extent of his exasperation and struggles.

A master of dark comedy, Root’s role as a weathered fisherman feels as bespoke as his Barry character. Though the two share a similar wide-eyed intensity, Wyck doesn’t have Monroe Fuches’ toxic, self-serving tendencies. He genuinely wants to save lives, and beyond his cold exterior lies a warm heart. Widow’s Bay’s main men (and former Perry Mason co-stars) are huge draws who share effortless chemistry, but O’Flynn (My Lady Jane), a British actress in her first U.S. production, is the show’s sneaky standout. Having never fully recovered from a run-in with the Boogeyman when she was young, Patricia became an awkward, introverted outcast who yearns to be bold and beloved. O’Flynn’s performance is a bit of a slow-burn, but her quirky portrayal captivates in meek and manic moments alike, unwittingly inspiring some of the series’ biggest laughs. Once Patricia gets her time to shine in the exceptional Episode 4, you’ll find yourself missing the wonderful weirdo when she’s off-screen.  

Emmy winner Hiro Murai (Mr. & Mrs. Smith, The Bear, Atlanta) EPs and directs five episodes, playing an essential role in establishing Widow’s Bay’s cinematic world. Impressive exterior locations, set design, wardrobe, and special effects fully immerse viewers in the lived-in town, while a sinister score ramps up paranoia. And weekly haunts, ambitious creative swings, and surprise guest stars keep tourists and viewers on their toes.

Shows typically take a while to find their sea legs, but Widow’s Bay arrives incredibly sure of itself, confidently embodying the brilliant hilarity and horror of Dippold’s famous Babadook tweet. Natural comedic talent and a rich improv background helped shape the show’s witty writing, but Dippold’s passion project has been years in the making. Mike Schur hired her as a writer on Parks and Recreation Season 2 after reading her original Widow’s Bay pilot script, and since the late 2000s, the vision has been refined, cared for, and perfected. While Dippold knows the world of comedy, she’s also a horror enthusiast known for films like Ghostbusters (2016) and Haunted Mansion (2023). She set out to honor the genre, taking inspiration from greats like Stephen King, iconic thrillers like Jaws and Halloween, and acclaimed shows like Barry and Atlanta. She puts her own spin on classic tropes, but also slips in reverent references and Easter eggs for aficionados to spot.

As a certified scaredy cat with so few spine-chilling films to reference, I can’t critique or fully appreciate the series through the lens of a hardcore horror buff, but I can praise Widow’s Bay as another distinctive addition to Apple TV’s impressive library that delivered several agonizing jump scares, loads of laughs, and intrigued until the last second of the 10 episode season. When the end credits roll, I wouldn’t be surprised if viewers seek out real-world East Coast haunts in hopes of recapturing the thrills of their Widow’s Bay stay.

Widow’s Bay premieres Wednesday, April 29 on Apple TV.