The third season of Mr. Mercedes takes an unexpected detour, drawing its narrative from Finders Keepers, the second book in Stephen King’s Bill Hodges trilogy, rather than adhering to the chronological order. While seasons one and two effectively covered the events of Mr. Mercedes and End of Watch respectively, this season’s adaptation of the second book as the third installment raises questions about pacing and narrative focus. It seems the decision was made to conclude the Brady Hartsfield storyline in season two, paving the way for a new, albeit somewhat disjointed, direction in season three.
This season essentially juggles two primary plot threads. The first and arguably more compelling storyline revolves around Peter Saubers, who becomes entangled with the aftermath of John Rothstein’s murder and the hidden stash of Rothstein’s unpublished manuscripts. Peter’s discovery of these literary treasures, secreted away by Morris Bellamy after his crime, sets in motion a tense cat-and-mouse game. We watch as Morris, aided by his overly zealous lover from his past, Alma Lane, attempts to reclaim both the money and the invaluable Rothstein books.
The parallel storyline centers on Lou Linklatter’s trial for the killing of Brady Hartsfield at the close of season two. Despite public perception casting her as a hero, the legal reality is stark: Lou committed murder. This legal drama, however, feels somewhat peripheral to the main action and doesn’t quite integrate seamlessly with the Rothstein narrative.
While the Peter Saubers storyline provides engaging moments and introduces interesting character dynamics, particularly with Peter and Morris, the character of Alma Lane feels like a misstep. She veers into caricature, becoming exaggerated and less believable as the season progresses. Her over-the-top portrayal detracts from the narrative’s realism, and one could argue that her inclusion diminishes the overall quality of the series. Morris’s storyline could arguably have been more impactful and streamlined without her presence.
The Lou Linklatter trial arc, unfortunately, feels largely like filler. It adds little substantive value to the season, serving primarily as a tenuous link to Brady Hartsfield’s lingering presence. While there are hints of Brady’s continued influence, perhaps even communication with Lou, these threads are never fully developed or resolved, leaving a sense of narrative incompleteness. It feels like a plot device introduced without a clear payoff, creating an impression of unnecessary padding.
Ultimately, season three of Mr. Mercedes retains the core ensemble of beloved characters – Hodges, Holly, and Jerome – but struggles to maintain the narrative momentum of previous seasons. It feels noticeably thinner in plot and relies too heavily on storylines that don’t enrich the overall narrative. While Mr. Mercedes Season 3 is watchable and provides some entertainment, it falls short of the high standards set by the earlier seasons and feels like a step down in quality for this Stephen King adaptation. It’s an OK season, but not much beyond that.
