My expectations were incredibly low for this Watchmen series. With the previous Watchmen continuation comics of the prequel comics and the crossover events all being mediocre, what hope did an HBO sequel series have of actually being as satirical and profound as Alan Moore’s original comic book? But to my great surprise, this show actually gets it. It understands what makes Watchmen great and it’s not just regurgitating the comic verbatim while missing the point, the same way Zack Snyder did with his 2009 film adaption. It’s that this series continues questioning the nature of superheroes while also crafting a poignant picture of relatable and real topics.
Much like the comic book, Watchmen exists in an alternate timeline continued on from the events of the comic book’s 1985 timeline. In this world, superheroes have mostly been outlawed but the police now operate with masks, further instigating the authority that cops have when they are not held accountable. Their latest threat is a white supremacist group calling themselves The Seventh Cavalry and adopting the mask of the late anti-hero Rorschach. Oh, and in case you think Rorschach was never this right-wing, you might want to reread the comic book where it mentions that his publication of choice endorsed the KKK.
Anyway, Angel Abar is the lead cop on the beat, adopting the superhero title of Sister Night. Having taken in the children of a killed cop during an investigation into the fascist group, Angela takes it upon herself to uncover the truth. What she discovers is a multi-level conspiracy that involves a number of key players and events. Doctor Manhattan is called out of his self-imposed exile and becomes a pawn of power once again. Adrian finds himself unfulfilled by his dream of a perfect world that is maintained through illusion. A new mogul seeks power, a new masked hero is tempted by conspiracies, and the truth is revealed about a mysterious figure who was never fully divulged in the comic books. All of it is presented with a great sense of world-building in a neo-liberal false utopia that promises progressivism while the regressive racists and fascists muck about.
I love this show so much for how it builds on the original comic book (remember, the comic book, NOT the movie). It draws on familiar characters and events to expand on them in interesting ways. For example, I love how Adrian's post-1980s plan for keeping the public believing in squid monsters from beyond is to schedule baby squid hail every few days to keep the world constantly on guard. Hooded Justice becomes a more interesting character by focusing on his origins that have become distorted over time. In the comics, he was speculated to be a missing bodybuilder who favored Nazi views. In this series, it’s revealed that Hooded Justice was a closeted gay black man who found his mind warped by racist propaganda. This leads to one of the best episodes that reveal his troubled past in a fascinating manner, showcasing awful feelings and mixed views on a world that keeps falling apart.
It’s not just the comic book that the show draws from but history as well. One of the first scenes in the series depicts the Tulsa Massacre on Black Wall Street, an event and has only come to light in the past few years considering how long it was covered up. During the time that Watchmen was airing, new info was found about a possible grave site for those killed during the massacre in one of the most racist violent events in American history. The show itself highlights how subjects like this need to be unearthed if we’re ever to learn and move forward.
Also, for as bleak as the series becomes at times, it’s also pretty damn funny at times. I love how some of the police superheroes have absurd titles like Red Scare, Pirate Jenny, and Panda. The absurdities of Adrian being a dude trying to address problematic elements and farting toward his detractors is so off-beat that it’s hilarious. It’s also pretty amusing that it’s briefly addressed that the current president in this timeline is Robert Redford and that he implemented a reparations plan referred to as Redfordations. Oh, and you can’t forget Lube Man! He only appears in one episode with no dialogue and connects to nothing, but, wow, does this greased-up superhero make a great first and only impression!
Watchmen is one of the best comic book adaptations for television. Unlike a lot of adaptations that attempt to rework the comic books for television, this series embraces and builds on the comics in a unique way. The result is a series that taps into the cutthroat nature of the comic and its postmodernism, expanding on it in a great way. Armed with strong creatives and a fantastic ensemble cast, this is a great case of how the continuation of an IP works if those working on it are willing to take risks.