Stephen King, the maestro of macabre, has seen a surge in screen adaptations lately, and for good reason. Hollywood has finally seemed to unlock the secret to translating King’s uniquely chilling atmosphere from page to screen. While movies like IT and Gerald’s Game, and series such as Castle Rock have all contributed to this renaissance, the Mr. Mercedes tv series stands out as a particularly compelling adaptation, especially as it moved into its gripping second season.
Originally airing on AT&T AUDIENCE Network, Mr. Mercedes quickly became a standout Stephen King TV show, though it initially flew somewhat under the radar. Set in the economically struggling city of Bridgton, Ohio – a departure from King’s usual Maine setting – the series opens in the aftermath of a horrific crime. Bridgton is a town still reeling from the infamous Mercedes massacre, perpetrated a year prior by the disturbed Brady Hartsfield (played with chilling intensity by Harry Treadaway).
For those new to the series, season one of Mr. Mercedes introduces Brady as a truly unsettling villain – a product of societal rage, toxic masculinity, and outright sociopathy. His heinous act involves driving a stolen Mercedes through a crowd of people waiting for a job fair, leaving devastation and unanswered questions in his wake. The detective haunted by this unsolved case is the gruff but ultimately endearing Bill Hodges (portrayed masterfully by Brendan Gleeson). Brady, reveling in his evasion of justice, begins taunting the retired detective, drawing him back into a dangerous game of cat and mouse, promising further carnage. This tense and deadly game dominated the first season, leading viewers to question how the series could continue after Brady’s eventual capture – a capture achieved when Bill’s resourceful partner Holly (Justin Lupe) intervened decisively before Brady could commit another atrocity.
Alt text: A contemplative Brendan Gleeson as Bill Hodges, the retired detective, stares intently in a scene from the Mr. Mercedes tv series, highlighting his determined and world-weary character.
However, season two of Mr. Mercedes expertly dispels any doubts about its longevity. In fact, the series arguably becomes even more captivating following Brady’s apprehension. While season one explored the twisted sense of purpose both Bill and Brady found in their deadly conflict, season two delves into the theme of stasis. It examines what happens to individuals when they are trapped in unsatisfying routines, yearning for change and a new direction.
For Bill, the pursuit of Brady served as an unexpected form of redemption. It was a chance for him to rediscover his capabilities and escape the self-destructive cycle of alcoholism and apathy he had fallen into after retirement. For Brady, being the object of Bill’s pursuit was a perverse form of validation, a twisted way to exert control over others’ lives after a lifetime of feeling insignificant and abused. Mr. Mercedes deserves credit for unflinchingly portraying the disturbing nature of this dynamic without romanticizing or softening its edges.
Alt text: A menacing Harry Treadaway as Brady Hartsfield, the chilling antagonist of the Mr. Mercedes tv series, stares intensely with a disturbing smirk, emphasizing his unsettling and psychopathic nature.
With Brady now in custody, both men find themselves without their previous driving forces. They face the unsettling prospect that remaining still is akin to succumbing to a slow, metaphorical death. “I’ve lost my moorings a bit,” Bill confesses to his ex-wife Donna (Nancy Travis), grappling with a significant loss early in the season. Without Brady as his focus, Bill risks relapsing into the destructive habits he had only managed to control when lives were on the line.
Brady, on the other hand, isn’t stagnant by choice. He exists in a vegetative state, a consequence of Holly’s justified and forceful actions. Bill’s continued obsession with Brady leads him to frequent hospital visits, hoping for his nemesis to awaken and face justice. This seems unlikely due to the severity of Brady’s injuries. However, a twist emerges when Brady’s ambitious doctor (Jack Huston), encouraged by his equally ambitious wife (Tessa Ferrer), administers an experimental serum. (Spoiler alert!) This serum unexpectedly revives Brady and, more disturbingly, grants him the terrifying ability to manipulate minds, forcing others to act according to his will while he remains confined to his hospital bed.
This plot development marks a significant departure from the source material. Having adapted King’s first Mr. Mercedes novel in season one, showrunners David E. Kelley, Dennis Lehane, and director Jack Bender faced a choice for season two: adapt the second novel, Finders Keepers, which doesn’t feature Brady, or skip ahead to the third novel, End of Watch, which brings Brady back but with these supernatural elements.
They made the wise decision to retain Brady, recognizing that his sinister relationship with Bill is the dark heart of the series. However, King’s novel takes Brady in a decidedly supernatural direction, granting him mind-control powers to maintain his villainous presence even in a comatose state.
This transformation, while faithful to the novel, feels somewhat at odds with Treadaway’s performance in the first season. His initial portrayal of Brady was grounded in a disturbingly realistic kind of evil – a resentful, tech-savvy outcast fueled by misogyny and a warped sense of entitlement. He was terrifying precisely because he felt like a plausible threat lurking in the real world. Turning him into a mind-controlling supervillain risks diminishing Mr. Mercedes‘s gritty relevance.
Nevertheless, the writers navigate this genre shift with considerable skill. A particularly striking dream sequence, where Brady envisions his mental powers operating from his basement computer lair, is a testament to their adaptation prowess. Treadaway embraces these new dimensions of the character, even in scenes set within Brady’s mind. Despite the initial strangeness of this supernatural turn, the season effectively reaffirms the series’ core themes, particularly those surrounding masculinity, mortality, and the paradoxical way masculinity often perceives mortality as a threat. Season two is replete with scenes set in somber locations like funerals, graveyards, and hospitals. Both Bill and Brady are constantly surrounded by death, lending credence to Brady’s chilling assertion to Bill, “I’m what keeps you alive.”
The strength of Mr. Mercedes continues to lie in its exceptional cast. Gleeson’s portrayal of Bill remains a masterclass in nuanced character acting. He embodies Bill’s weariness and underlying decency with a captivating melancholy. Lupe’s performance as Holly is equally compelling. She evolves into Bill’s unlikely guardian angel, offering both professional partnership and genuine personal affection. While Mr. Mercedes avoids explicitly labeling Holly’s condition, Lupe sensitively portrays her OCD-like tendencies, adding depth and complexity to her character. Returning cast members Jharrel Jerome, Breeda Wool, and Holland Taylor also deliver strong performances, though the series could perhaps find more organic ways to integrate their storylines into the central narrative.
Alt text: A determined Justin Lupe as Holly Gibney, Bill Hodges’ intelligent and resourceful partner in the Mr. Mercedes tv series, showcases her character’s strength and unique perspective.
Through its initial episodes, season two of Mr. Mercedes maintains a deliberate pace, prioritizing mood and character development. This patient approach, often eschewed by less confident shows, is precisely what makes Mr. Mercedes such a well-constructed and absorbing thriller. The series hints at an impending acceleration of pace, which will ultimately reveal whether Brady’s newfound powers will enhance or detract from the show’s established gritty and suspenseful tone. However, for the moment, viewers can simply appreciate Mr. Mercedes for what it remains: one of television’s darkest and most captivating journeys.
