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Everyone Is Watching Widow’s Bay

Last year, The Studio dominated the comedy race at the Emmys, barnstorming every major category to the tune of a record-setting 23 nominations and 13 wins. With season two taking its time getting on the air, the field of potential Best Comedy nominees this year was looking rather stale — until Widow’s Bay premiered. The New England–set Apple TV series from creator Katie Dippold made landfall at the end of April to great reviews (97 percent fresh at Rotten Tomatoes) and the kind of word-of-mouth enthusiasm that is increasingly rare in an overstuffed TV landscape; Apple is happy enough that it just announced a season-two pickup. At a time when Hacks’s final season seems all but destined to receive a farewell Emmy in this category, with rivals like The Bear, Abbott Elementary, and Only Murders in the Building feeling too familiar to truly rock the boat, could a comedy-horror hybrid be the thing that actually jolts the race?
Widow’s Bay concerns a fictional island town in New England whose mayor, Tom (Matthew Rhys), is sweating to get the same tourism dollars those fancier, think-they’re-so-great places like Martha’s Vineyard get. Only Martha’s Vineyard doesn’t have to deal with persistent rumors that it’s haunted by a centuries-old curse. A mainlander by birth, Tom is initially skeptical of the local lore until weird things start happening to him. Repeatedly. Widow’s Bay manages to scratch the same itch as recent idiosyncratic horror offerings like Evil and Castle Rock, municipal comedies like Parks and Recreation, and quaint small-town BritBox mysteries. Cross Mike Flanagan’s Midnight Mass with Mrs. Hatt and you’ve got it. A recent episode featuring Kate O’Flynn’s socially awkward mayoral aide Patricia running for her life from a Michael Myers–style killer is made no less thrilling by the fact that O’Flynn figured out the single funniest running form I have ever seen. The comedy of that isn’t undermined by the terror of Patricia’s plight; it’s enhanced by it.
“The genre mix is what is helping this achieve breakout status in my world,” one Emmys voter who works in production and development told me. They said they were recommended the show by a mix of friends and industry connections, plus the “insanely positive reviews.” Oscar-winning director Guillermo del Toro tweeted his praise for Widow’s Bay, calling it the best streaming series he’d seen in a long time and “one of the most mesmerizing acts of narrative prestidigitation in Horror.” Polygon called the episode featuring Patricia’s aforementioned gumby-legged chase scene the best slasher (film or TV) in nearly a decade. Jeff Hiller, the Somebody Somewhere Emmy winner who plays mayoral staffer Dale, says he’s seeing the show’s popularity reflected in public, too. “I am occasionally stopped on the street for Somebody Somewhere, but it’s inconsistent. Not so with Widow’s Bay,” he told me this week. “People are stopping me constantly — occasionally even in the changing room at Nordstrom Rack.”
Hiller compared it to his experience when he guest-starred on Pluribus, another Apple TV Emmy hopeful from earlier this year. “When a show has lore like this,” he says, “people become so passionately invested. They like to ask questions and share their theories.” But while Pluribus still feels like a homework show, where you have to listen to post-episode podcasts and read recaps to make sure you didn’t miss anything, Widow’s Bay is much easier to experience in the realm of pure pleasure. In recommending it to my in-laws or phlebotomist (the two classes of people I find myself recommending TV shows to most often), I don’t feel like I’m handing out a multilevel assignment.
The top-line talent on Widow’s Bay also offer compelling cases for Emmys attention. Dippold brings to the show a great comedic pedigree, having written the script for the Melissa McCarthy–Paul Feig collab The Heat and contributed uncredited punch-up work on their follow-up film, Spy (though you may know her best as the author and subject of the greatest Halloween tweet of all time). And then there’s Matthew Rhys, who plays the mayor of Widow’s Bay, desperate to promote his island town’s tourist appeal while masking the rising terror that all the stories told about the island are true. The New York Times review declared Rhys’s performance his best since The Americans, and considering he won the Emmy for that series in 2018, that’s the kind of praise that will make voters sit up and listen.
Aside from being an Outstanding Actor in a Comedy hopeful for Widow’s Bay, Rhys — a five-time Emmy nominee all told — is also in contention in the Limited/Anthology category this year for playing a suspected murderer next door on Netflix’s The Beast in Me. The two roles underline the actor’s formidable versatility, all skittish panic in the former and arrogant sociopathy in the other. His marriage to his Americans co-star and likely 2026 Emmy nominee Keri Russell (The Diplomat) has “First Couple of American television” vibes. With last year’s Lead Actor in a Comedy winner, Seth Rogen, out of the race, Rhys’s top competition includes Jason Segel (Shrinking), Martin Short and Steve Martin (Only Murders in the Building), Jeremy Allen White (The Bear), Adam Brody (Nobody Wants This), and probably Steve Carell (Rooster). The Bear has been on a downward Emmys trajectory for two years, and both Nobody Wants This and Only Murders delivered buzzless seasons this year. There is absolutely room for Rhys to sneak in.
Meanwhile, Hamish Linklater and three-time Emmy nominee Betty Gilpin — who are at the center of the season’s big flashback episode — could easily find themselves in the mix for Guest Actor and Guest Actress in a Comedy, respectively. But the real cause célèbre among the show’s cast is Kate O’Flynn, an English actress from the Mike Leigh company of performers who was already stealing scenes even before her character’s spotlight episode (“Beach Reads”) unlocked a level of dark pathos for Patricia. “In a community overflowing with crusty weirdos,” my colleague Nicholas Quah put it in our Don’t Not Consider List two weeks ago, “Kate O’Flynn’s Patricia emerges as the undeniable standout.”
Behind the camera, Widow’s Bay also offers a strong case. Its horror elements provide the first season’s excellent roster of directors — including nine-time Emmy nominee Hiro Murai as well as filmmakers Ti West (Pearl) and Andrew DeYoung (Friendship) — ample opportunity to show off, while the unflagging comedic sensibility is a testament to the show’s writing. Even though 2025 writing/directing nominees Hacks, Abbott, and The Bear should all draw plenty of support once again, both the Writing for a Comedy and Directing for a Comedy categories have recognized at least one first-year show in 11 of the last 12 years.
With everything Widow’s Bay has going for it as an awards contender, this is still a show that wasn’t on anyone’s Emmys radar as of two months ago. Folks who follow the Oscars race have gotten used to the idea that studios save their big contenders for the end of the year, but the Emmys could never operate like that due to the strictures of the TV schedule: TV seasons mostly premiered in September, a handful of shows made mid-season debuts, and the big season-finale events all hit in May. Now that TV has become completely unmoored from the old release schedule, the release calendar is starting to look more like the Oscars, with many of the year’s prestige offerings choosing to wait until the season is nearly over to debut. The sweet spot for Emmys contenders seems to run from mid-March to mid-April; that’s the window that saw the premieres of past Comedy Series winners The Studio, Veep, and The Marvelous Mrs. Maisel, along with nominees Barry, Silicon Valley, Jury Duty, and Palm Royale. But an April 29 debut seems to be daring the Emmys voters to run out of time before they could fire up those Widow’s Bay screeners. Since 2009, when the Outstanding Comedy Series category expanded past five nominees, only one freshman series has premiered later than April 29 and scored an Outstanding Comedy Series nomination, and that was Hacks in 2021.
Widow’s Bay is also facing internal competition from fellow Apple TV series Shrinking (a 2025 nominee) and Margot’s Got Money Troubles. The latter show features bona fide movie stars Michelle Pfeiffer and Elle Fanning, plus a plot — single mom starts an OnlyFans to make ends meet — that fits right in with the 21st-century trend of comedies that play like dramas. Vulture’s review of the show’s South by Southwest premiere basically called Margot’s Emmy nominations locked. And while everyone I’ve talked to seems to think Widow’s Bay’s horror-comedy mix helps it stand out from the crowd, the reality is that horror-comedy has historically been a tough sell for the Emmys. Recent successes by Wednesday and especially What We Do in the Shadows gives some hope, but they’re outbalanced on the ledger by snubbed shows like Los Espookys, Santa Clarita Diet, Swarm, and even the comparatively un-scary Ghosts.
But as skittish as Emmys voters can be about horror, they also respond to popularity, and from what I’m hearing, Widow’s Bay’s popularity is real. It’s currently the No. 1 show on Apple TV’s “Most Popular Now” page, ahead of the star-studded new Cape Fear series and the aforementioned Shrinking and Margot’s Got Money Troubles, among others. That makes it easier to believe when, for example, The Guardian calls the show “the biggest word of mouth hit that television has had in years.” Meanwhile, the all-important industry buzz seems to be coalescing around Widow’s Bay too: One awards insider in L.A. told me they spoke to two showrunners on rival shows who both loved it.
“The word of mouth is mouthing,” said the Emmys voter I spoke to earlier. Now it’s a matter of whether the Emmys voters will be voting.

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After Milania Giudice Domestic Violence Arrest, ’RHONJ’ Cast Speculates Luis Ruelas Was the Victim

After the shocking news that Milania Giudice, daughter of reality TV legend Teresa Giudice, was arrested for domestic violence back in May, the other ladies of The Real Housewives of New Jersey are speculating about who else may have been involved in the incident.
According to sources who spoke to Rob Shuter’s Naughty But Nice newsletter, Teresa’s cast mates believe that her husband Luis Ruelas was the alleged victim.”The first question everyone asked was, ‘Was it Luis?'” a source told Shuter. “He’s very controversial, so that’s where the speculation immediately went.”
Milania, 20, was charged with “simple assault” and “purposely/ knowingly causing a bodily injury,” and the alleged incident took place in Montville, New Jersey, where Teresa, 54, and Luis, 51, reside. Milania is currently a student at the University of Tampa, but is presumably home for the summer break.
“Nobody knows who was allegedly injured,” a source told Shuter. “But a lot of people assumed [Luis] could be involved.” Law enforcement has not released any details about the alleged victim, and no one in the Giudice circle has spoken publicly about it. As InTouch previously reported, RHONJ was filming at the time of the arrest, but the altercation was not caught on camera.
“Everyone thinks it is Luis,” said another source. “The secrecy is creating more questions than answers.”
Time will tell if fans get more information when season 15 premieres—currently no date has been set.
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How David Hockney Taught Los Angeles to See Itself

It was a perfect sunny day for lounging poolside at the Hollywood Roosevelt Hotel. The sky was a keen pale blue, with that piercing quality familiar in Southern California. The pool, where a man with straight black hair drifted on a pink and green striped raft, was a deeper, cerulean blue.
It looked a lot like a painting by David Hockney, the British-born L.A. transplant whose death on Thursday drew tributes from all corners of the world.
And Hockney had had a hand in this pool. In 1988, already famous, he spent a day here with a paint brush attached to the end of a broom, painting bright blue swooshes on the pool’s bottom. Now, even though many of the marks have faded, the remaining curves powerfully mimic and accentuate the flickering light on the water’s rippled surface.
The pool mural, which I visited on Friday, is one of the many gifts that Hockney has given us as residents of Los Angeles. In his five decades of living here, becoming as he would say an “English Angeleno,” he made his mark on the city in ways both dramatic and subtle, inflecting our image of the California lifestyle as well as influencing generations of artists. His influence is felt not just on the walls of museum, but everywhere.

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‘Disclosure Day’ Invades Globe With $94M WW Opening

Universal and Amblin‘s Steven Spielberg alien sci-fi movie, Disclosure Day, is posting a significantly better than expected global start of $93.9M. Originally, the movie, which is a throwback to 1970s movies like Parallex View, was eyeing a low $65M.
Overseas is overindexing with $49.9M in addition to $44M from North America where the Emily Blunt, Colman Domingo, Josh O’Connor and Colin Firth ensemble has a B Cinemscore.
Broken out, here’s how it’s doing, the pic being No. 1 everywhere listed below except Germany where it’s No. 2
The UK & Ireland added $1.6M on Friday, taking the 3-day total to $3.8M. The Friday result is in line with Project Hail Mary, +57% above Amblin’s Twisters, and more than double Arrival. The BFI Imax remained the top site for a third straight day, with main evening shows largely sold out. Imax B.O. is repping 11% of the pic’s business with the BFI accounting for 20%. Odeon is the No.1 circuit for the film, although luxury chain Everyman jumped 2 pts on Friday, a sign that older audiences were heading out and seeking a more premium experience on Friday night. The weekend is on track for $7.3M, excluding previews this is in line with Ready Player One, above Tenet (+16%), Twisters (+23%), Arrival (+49%), and One Battle After Another (+54%).
France added $500K on Friday, taking the 3-day total to $1.5M; the pic repping a 22% share with the best average per screen, with more than double the admissions of second-placed local blockbuster De Gaulle Part 1. PLFs are repiping 8% of ticket sales, 5% coming from Imax. The weekend is on track for $3.7M, above Blade Runner 2049 (+9%), One Battle After Another (+28%), Twisters (+92%), Project Hail Mary (+58%), and more than double Arrival.
Mexico saw $740K on Friday to take the 3-day total to $1.6M. The Spielberg pic reps 31% of the overall weekend B.O. — and that’s with World Cup screenings. Weekend outlook is $3.5M in line with Ready Player One and Twisters, above Project Hail Mary (+7%), Interstellar (+21%), more than double One Battle After Another, and more than 3x Arrival.
Australia saw $2.1M across four days, including an early estimate of $1M for Saturday. The pics commanding 26% of the weekend B.O. Imax reps 9% of ticket sales for a weekend that should come in just under $3M, in line with Ready Player One and Twisters, above Arrival (+70%) and double One Battle After Another.
Spain‘s Friday was $800K with the pic accounting for close to half of the B.O. yesterday. Imax reps 4% with a weekend forecast of $2.8M. The opening day is more than 3x Twisters and One Battle After Another, more than double Arrival, as well as topping Project Hail Mary (+31%) and Tenet (+29%).
Brazil saw $700K from 972 screens for a 3-day total of $1.5M, accounting for 32% of total business in the market. Imax is pulling in 5% of that from 12 screens with 20% coming from PLF screens. The weekend is looking like $2.7M, above all key comps including Ready Player One (+61%), Project Hail Mary (+73%), more than double Twisters and Interstellar, and more than 3x One Battle After Another.
Italy added $400K on Friday, taking the 3-day total to $992K for an overall weekend outlook of $2.2M. Disclosure Day is the clear top pic in the market with a strong 39% of total business, and the highest average per screen, growing +48% from Thursday. Imax is driving close to 4% of business from seven sites. The weekend, excluding Wednesdays previews this is just off Ready Player One (-14%), above Project Hail Mary (+24%), One Battle After Another (+38%), Arrival (+39%), and more than double Twisters.
Germany grossed $500K on Friday with the 3-day rising to $1M. Disclosure Day claimed a market share of 14.5% on Friday, ranking No.2 behind Scary Movie. Imax is repping 8.2%, 70MM close to 2%. This result excluding previews is in line with One Battle After Another, above Arrival (+18%), and Twisters (+80%).
Hong Kong has grossed a half a million across the first three days with Disclosure Day commanding 40% of the overall territory weekend’s business. The opening is looking like $1M, excluding previews this is above Arrival (+38%), Twisters (+47%), Project Hail Mary (+60%), and more than 3x One Battle After Another.
Netherlands minted $500K across its first three days with Friday adding $212K as Universal’s highest day to-date, accounting for 22% of the market. Imax was strong at 19% and Dolby Cinema doing another 8%. The weekend is on track for $0.9M, excluding previews this is in line with Project Hail Mary, One Battle After Another, and Interstellar, above Twisters (+60%), and more than 3x Arrival.

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Rosie O’Donnell Shares Photo, Thoughts After Visiting Daughter Chelsea, 28, in Prison

NEED TO KNOW
Rosie O’Donnell shared a heartfelt poem about visiting her daughter Chelsea O’Donnell in prison
The comedian reflected on “unconditional love,” motherhood, Chelsea’s sobriety, the duo’s tumultuous relationship and more in the emotional writing
Chelsea, 28, is serving prison time after her probation was revoked in October following multiple arrests in 2024
Rosie O’Donnell is reflecting after a visit to see her daughter Chelsea O’Donnell in prison.
The 64-year-old actress’ daughter had her probation revoked and was sentenced to jail in October after she was arrested three times in 2024, starting with a September arrest on multiple felony charges, including neglecting a child and possession of methamphetamine.
Rosie recently visited Chelsea in prison — which she said the 28-year-old requested — and she reflected on the experience through poetry she shared alongside a mother-daughter selfie on Instagram (and via Substack) on Friday, June 12. The photo, seemingly taken during the visit, shows Chelsea smiling as she wrapped her arms around her mother.
In a poem about the visit, Rosie said her heart skipped “a beat” the moment Chelsea walked through the door in the visitation room. “She looks good,” the actress wrote. “Healthy calm / Rested blue eyes / Clear skin / In her green uniform.”
The pair embraced, according to Rosie. She added that she held “on tight” to her daughter and stared “into her eyes.”
“We have been thru so much,” the A League of Their Own actress continued in the poem.
Reflecting on her daughter’s own children, Rosie said Chelsea’s four kids “have not visited” their mom in prison, “which pains her I know.”
The comedian then wrote that she tried “to stay present” during the prison visit. “I try to shake the sadness,” she said.
Of her daughter, Rosie wrote, “It’s hard enough for her / She turns 29 this summer / And all I see when I look at her / Is a blonde baby in diapers.”
The prison visit was “cut short” due to weather conditions, Rosie said in the poem. She noted that after a “quick hug,” she was back outside in her car.
“It storms all the way to the hotel / As I try to process / All that’s happened,” the actress wrote. “It was a big day for both of us.”
Rosie — who is a mom to five children total, four with her ex-wife, Kelli Carpenter, and her fifth with late ex-wife Michelle Rounds — said she slept “for hours” after the emotional visit, for which she was “proud of us both.”
“Unconditional love / Simply the only way / Thru motherhood,” she added. “Love and forgiveness a must / Even when it seems impossible / Especially then / We live we learn we grow / Even at 64.”
Rosie also shared some of her thoughts from “before” the visit on Substack. “She’s not fighting it anymore / This relationship we have / Her sobriety helps so much / Gives me hope,” she wrote of Chelsea.
In a later stanza, Rosie added of her child, “I told her I may cry when I see her / There in prison clothes.” She said her daughter responded, “Why mom — it’s not bad in here — I have friends now.”
Chelsea calls Rosie from prison “daily,” she said. Rosie added that the mother-daughter pair have “gotten closer / Thru these tense times / And I’m grateful for that.”
“That she’s alive,” she continued in the poem. “Looking forward to her release / Planning her post-prison / journey / Drug free / Getting back with her children / Making amends / Dreaming of peace / For the first time / As am I.”
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Chelsea appeared in court for sentencing on the three felony counts she pleaded guilty to in February: resisting or obstructing an officer, felony bail jumping and possession of methamphetamine.
In March, she was sentenced to six years probation — a two-year sentence for each of the three guilty counts. Chelsea was told she could face prison time should she violate any of the probation requirements, which included absolute sobriety, no possession of alcohol or another controlled substance without a valid prescription, no contact with any known drug users or sellers and no possession or ownership of any firearm.
Her probation was revoked, and she was sentenced to prison time on Oct. 22, according to court documents obtained by PEOPLE.
In a statement shared with PEOPLE at the time, Rosie said, “I have compassion for those struggling with addiction – Chelsea was born into addiction and it has been a painful journey for her and her four young children. We continue to love and support her through these horrible times. Prayers welcomed.”
If you or someone you know is struggling with substance abuse, please contact the SAMHSA helpline at 1-800-662-HELP.

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BTS Book Series Launching in Partnership With Running Press, BigHit

BTS have some more surprises in store for this year’s BTS Festa, their annual anniversary celebration. In time with the occasion, the supergroup has announced an upcoming slate of book releases publishing in partnership with Hachette Book Group’s Running Press, CAKE Corp, and BigHit Music.
On Sept. 15, BTS will release the officially licensed title BTS Lyrics Inside, in which RM, Jin, SUGA, j-hope, Jimin, V, and Jung Kook will dissect the songwriting across their catalog. Songs from Proof and Most Beautiful Moments in Life will be broken down to explore their deeper meanings and underlying messages.
The collection will dive into everything from “Boy With Luv,” their 2019 collaboration with Halsey, as well as “Life Goes On, “Magic Shop, “Spring Day,” “Yet to Come,” “We Are Bulletproof : the Eternal,” and more. The lyrics will be presented in their original language alongside English translations for ARMY members hoping to study and analyze the records on a deeper level.
In tandem, BTS will release the BTS Recipe Book cookbook drawing inspiration from the group’s album eras to craft recipes of flavorful Korean dishes. The lineup includes scorched rice crackers, carp bread, sugar-filled griddlecakes, Korean fried chicken, simmered rice cakes, ginseng chicken soup, braised beef ribs, and more.
While these BTS projects will live on the page, they will also expand online. BTS Recipe Book, in particular, will include digital codes that will allow ARMY to access exclusive videos connected to the book, as well as tips for bringing the dishes to life and food commentary from the group members. Some may seem familiar from when they appeared on the menu for the series RUN BTS!, Bon Voyage, and In the Soop.
“BTS is a global force, and we couldn’t be more excited to partner with CAKE to bring these unique, thoughtful books to their dedicated and discerning fanbase,” said Shannon Fabricant, Vice President, Publisher of Running Press, in a statement. “Being able to deliver these inside perspectives on the band’s music, preferences, experiences, and more during what is already an extraordinary year for BTS is especially gratifying.”
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Seok Kyo Jeong, Vice President at CAKE, added, “Our mission at CAKE is to help fans deeply connect with their favorite artists by breaking down language and cultural boundaries. By combining our unique K-pop-based content — which continues the educational DNA of HYBE EDU — with Running Press’s exceptional publishing expertise, we are thrilled to offer ARMY a more immersive and meaningful way to experience BTS.”
There’s more to come. BTS’ publishing partnership will extend through 2027 with additional releases on the horizon.

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