Stephen King has given his verdict on the recent Cape Fear TV series, calling it “more fucked up than Peter O’Toole on his birthday”.

The Apple TV show is the latest iteration of the classic story, itself based on the 1957 John D. MacDonald novel The Executioners, and features Javier Bardem as sociopathic ex-con Max Cady as he sets out on a mission of revenge against the lawyer who defended him years earlier.

Also featuring Amy Adams and Patrick Wilson, the show is currently in the middle of its run, with author King weighing in while responding to fellow author Linwood Barclay – who wasn’t a fan.

“Cape Fear is undeniably entertaining, but it is the most sloppily and ridiculously plotted series I have ever watched,” the latter wrote on X.

It’s entertaining because it’s more fucked up than Peter O’Toole on his birthday. https://t.co/SR7I3Fav5T

— Stephen King (@StephenKing) July 18, 2026

I say that with love and admiration. https://t.co/yzZg9OAh8l

— Stephen King (@StephenKing) July 18, 2026

King then responded: “It’s entertaining because it’s more fucked up than Peter O’Toole on his birthday.”

The Misery writer further clarified: “I say that with love and admiration.”

Cape Fear was previously adapted into a 1962 film with Gregory Peck, Robert Mitchum and Polly Bergen, and a 1991 remake with Robert De Niro, Nick Nolte and Jessica Lange.

King is known for sharing his opinions on TV, recently revealing his praise for Apple TV’s Maximum Pleasure Guaranteed as he compared it to hit show Widow’s Bay.

“WIDOW’S BAY is good,” he wrote on X. “MAXIMUM PLEASURE GUARANTEED is even better. It’s like Hitchcock came back to do it one more time. And Tatiana Maslany is so good. The play of emotions on her face is pretty incredible. She goes from comic to terror in an instant.”

The author has also unveiled his 10 favourite films of all time, including Sorcerer, The Godfather Part II, The Getaway and Groundhog Day.

In NME’s three-star review of Cape Fear, we said: “This take on Cape Fear sticks closely to the source material (John D. MacDonald’s 1957 novel The Executioners) but the melodramatic orchestral swells that underscore the more emotional moments strike a strange note.”