Cape Fear

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Paul Asay

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Look at Max Cady’s hand, and you’ll see letters tattooed on his fingers: “P.A.S.T.”

Cady insists that he’s past the past. He bears no grudge toward the prosecutor who sent him to prison. He’s forgiven his defense lawyer, who convinced him to confess. The fact that the two lawyers are married now—living in a picture-perfect house with two teenage children—doesn’t bother him at all.

But those letters argue otherwise. Cady lost 17 years of his life for a crime that he says he didn’t commit. And now, he will have his revenge: Sweet. Warm. Red.

No Sideshow Bob Here

Tom and Anna Bowden are considered one of Savannah’s power couples. They met during Max Cady’s trial (and promptly married as soon as Cady was sent away). Sure, a few eyebrows were raised in the aftermath, but Cady was so very, very guilty. Everyone knew it. The evidence was overwhelming and, after all, Cady confessed. He was sent to prison, and everyone expected he’d be there for a long, long time.

Since the Cady trial, Anna has moved from conscientious defense attorney to legal crusader—the head attorney for a nonprofit that campaigns to overturn unfair legal decisions, to help innocent inmates find their freedom again. Tom still practices law but from the defender’s side of the ledger. But as Zack, the couple’s jaded son, says, “You used to put poor people in jail. Now you just help rich people stay out.”

That exchange may be the viewers’ first clue that all is not as picture-perfect in the Bowden household as it may seem. Zack is a troubled soul—socially isolated and prone to self-harm. He seeks solace in video games and, more recently, a mysterious girl he met online. (Or, at least, he thinks she’s a girl.)

Daughter Natalie, conceived before Anna and Tom got together, seems far more together than her brother. But looks can be deceiving (undergirding an important theme in Cape Fear). She drinks behind her parents’ backs and smokes a little weed, too. And she may have a crush on her female best friend.

Everyone in the Bowden family seems to keep their own secrets. And that makes them vulnerable—the perfect prey for a predator like Cady.

But wait, isn’t Cady supposed to be in prison? For a long, long time? Not since his old mistress made her own confession, scrawling it out in a suicide note before she shot herself in the head. The woman even left the murder weapon on the kitchen table for authorities to find. 

Perhaps Cady had something to do with that ever-so-convenient confession, but no matter: He’s free now. And he plans to spend his newfound freedom reintroducing himself to the Bowdens.

Dark Waters

Like Cady, Cape Fear has proven to be remarkably durable.

Based on John D. MacDonald’s 1957 novel The Executioners, Cape Fear first hit the big screen in 1962 and again in 1991—the latter directed by Martin Scorsese and featuring a terrifying Robert De Niro as Max Cady.

Each version of the story deviates significantly from the ones that came before—but most hold one important element in common: Cady may radiate charismatic evil, but no one is blameless. The secret sins of others seem to lurk in every closet, pocket and phone.

That said, the show’s own sins are on full display for the viewer at home.

This Apple TV+ version of Cape Fear seems to embrace a touch of sadism in its narrative DNA. It glories in horrifying its audience, even from its opening moments. It’s not satisfied when Cady’s former mistress shoots herself once on-screen. It must keep her alive and force her to pull the trigger a second time. It’s as if its creators are channeling eager-to-please puppies under the ownership of a particularly twisted master: How can I make this scene more disturbing? They seem to ask. More disgusting? More prone to make you retch a little?

Cape Fear is riddled so many other content issues, too, from its allusions to porn to its on-screen abuse of liquor and drugs to its R-rated language issues.

Give Apple TV+ credit though: The service has a well-deserved reputation for quality, and this version of Cape Fear gives us some great acting, strong writing and a compelling story. But those attributes cannot hide the corrosive iniquity found therein. You might want to let this streaming houseboat pass on by.

(Editor’s Note: Plugged In is rarely able to watch every episode of a given series for review. As such, there’s always a chance that you might see a problem that we didn’t. If you notice content that you feel should be included in our review, send us an email at letters@pluggedin.com, or contact us via Facebook or Instagram, and be sure to let us know the episode number, title and season so that we can check it out.)

Episode Reviews

June 5, 2026—S1, E1: “Fingers and Toes”

Tom and Anna Bowden seem to be living the best of lives, what with their huge house, two kids and one pretty little (and presumably doomed) housecat. A local news outlet interviews Anna because of her charity work. And while the reporter tries to sneak in a question about the trial of Max Cady—a drama now 17 years in the past—Anna is able to just wave it away.

But when Cady shows up to a fundraiser for Anna’s charity, his presence is not so easy to ignore. Cady takes the microphone and encourages people to write generous checks to the organization—an organization dedicated to helping release people who have been wrongly incarcerated, just like Cady alleges he was. But Tom and Anna believe that Cady’s goodwill is a cover for something far more sinister. And they might well be right.

Cady’s one-time mistress kills herself onscreen—but it takes two bullets to complete the deed. She sticks the gun in her mouth and pulls the trigger once. (The camera films the scene from the back of the woman’s head, and we see her head fall with a thump on the kitchen table.) But when her phone begins to ring, the woman revives—spitting blood and what appears to be a tooth out of her mouth. The woman answers the phone and talks to whoever it is on the other line. “It hurts,” the woman says. “What do I do?” The voice on the other end of the phone apparently tells her to shoot herself again, which she does—this time in the temple. Blood spatters a series of newspaper clippings that the woman had pinned to her wall.

A character somehow loses a toe: The wound leaves his foot a bloody mess, and he leaves a series of bloody footprints as he walks. (The character seems to be drugged, and he looks as though he doesn’t comprehend the injury.)

Tom and Anna’s daughter, Natalie, fishes four skunk carcasses out of the family swimming pool—two adults and two offspring. Someone crushes a glass in his hand, cutting it. Cady shows someone a scar on his scalp, where doctors inserted a metal plate in his skull. (He says that he suffered brain damage from the original injury.) Zack plays a violent video game. He also hits himself in the head.

We hear how Cady’s pregnant wife was murdered (the crime he was accused of): The woman was stabbed dozens of times—so relentlessly, in fact, that the attack left knife marks on the bones underneath. She and her preborn baby both died. Her body was then dumped into a swamp, where alligators ate most of the corpse. (We see the bloody, horrific mass of what was left in a news photo.)

Female characters wear cleavage-revealing outfits and swimsuits, and one wears a bikini. An animated character in a video game is dressed in a skimpy outfit. A podcaster stalks Natalie and repeats sexual insinuations about her parents to get a rise out of her. It works: The teenage Natalie tosses a drink in the podcaster’s face and shouts at him, “You’re stalking a little girl!”

A kitchen is filled with candles and what looks to be a small statue, suggesting some sort of atypical worship scene. Cady references that, ever since his brain injury, he sees images of his dead wife and son. (Zack also seems to see spectral visions of Cady’s son—but instead of being a preborn infant, the son is as old as he would’ve been now: a teen.)

Tom hides what appears to be a vial of some sort of drug, perhaps opium. A former inmate, released by Anna’s nonprofit, rubs elbows with the nonprofit’s staff and seems excited to drink. (He talks about the “hunch punch” that he consumed when he was in prison.) We hear about how Anna “got sober” and had a family. Zack appears to be drugged or on drugs, and a visitor makes mention of it.

Characters say the f-word nearly 30 times, and the s-word six times. We also hear “d–n,” “h—” and “p-ssed.” God’s name is misused five times (once with the word “d–n”), and Jesus’ name is abused once.

June 5, 2026—S1, E2: “Why Would I Want to Hurt You?”

Anna and Tom rush Zack to the hospital after discovering that one of his toes is missing. Anna suspects that Cady did it—and she’s still convinced that Cady is guilty of his wife’s murder, too. But Tom believes that Zack bit off his toe himself (he has a history of self-harm), and he now believes that Cady’s innocent of the murder. Meanwhile, Cady tricks someone into giving him a dog and goes house-hunting.

A flashback depicts the incident that earned Cady the metal plate in his head: Three fellow inmates kick, punch and beat him mercilessly—perhaps intending to kill him. Cady eventually gets the upper hand. He kills one by smashing a weight against the man’s skull. Another dies after Cady shoves his face through a bench-press bar. The third lives, but he writhes around incapacitated. Cady suffers a massive blow to the head, which draws a lot of blood and ultimately renders him unconscious.

While in the hospital, Zack starts gagging and eventually vomits up his missing toe (along with a lot of other gunk). Cady pops a dislocated finger back in place. Police officers surround the home that Cady’s living in, and Cady fights them all—apparently breaking one of the policemen’s arms. (He later lies and says he didn’t know they were cops.) The corpses of two people—a mother and her grown son—are found in their shared home. Someone speculates that the mother shot her drunk son and then died of a heart attack.

In the hospital, Tom talks to a counselor about Zack—including how Zack apparently shared some racy pictures of his girlfriend that were then spread around school. (Zack overhears and hits himself in the head several times.) Zack is now in contact with someone online—apparently a female who makes lewd suggestions when the two play videogames and sends Zack erotic photos. (We see some of those photos: No nudity is present, but they’re certainly suggestive.) Anna scrolls through the suggestive conversations that Zack’s been having with this “woman.” She comes to suspect that Zack’s online interest is actually Cady masquerading as a woman.

While Zack’s in the hospital, one of Natalie’s female friends comes by with a bottle of vodka and a marijuana joint. The friend drinks and smokes. Natalie refuses to share the joint, saying she doesn’t want to be “too messed up” when her parents come back. But she suggests that her friend “baby-bird” marijuana smoke into her mouth so that she can get kind of high. The friend appears to come close to doing just that—which would involve the two girls nearly kissing—but then withdraws, saying it would be “weird.”

In another of Cady’s flashbacks, Cady recalls being locked in a kennel like a dog. Later, his father “baptizes” Cady in front of a cross, but holds him under the water for far, far too long. (As he remembers the moment, Cady tells someone that his father gave him a “sense of morality.”) Cady also mentions that his mother apparently killed herself when Cady was 13.

A counselor asks Tom if Zack does drugs. Tom says no before adding that his son does smoke marijuana, but nothing hard. Tom dispenses a drop of something, likely opium, on his tongue.

Characters say the f-word around 25 times (sometimes paired with the word “mother”) and the s-word another seven times. Also heard: “a–,” “b–ch,” “d–n,” “h—” and “p-ss.” God’s name gets paired with “d–n;” Jesus’ name is abused twice. We hear the Spanish word for “d–k” a handful of times as well.

Paul Asay

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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