Watchmen

This is entertainment for people who don't have to worry about racism. I'm forced to live with racism every day, so I can't help but reject a self-serious superhero show that pretends to wrestle with the topic. Even if I didn't have the aforementioned objection, this series is listless and meandering, thanks to Lindelof's signature, tedious drip-feeding of information. What's the point of this? Is it to demonstrate how ridiculous extremist progressivism is? The Boys is much more watchable.

I admit, having been threatened by guns pointed to my face by a looter and a cop - both masked - and my neighborhood turned into a curfewed police state in the very recent past, may have made me a bit jaundiced and susceptible to the various implications and commentaries presented. But the show's radical reinterpretation and historical reframing of its own meta universe is completely in line with the original text: We all believe we're right with power unchecked. Until it's staring back at you.

I love the graphic novel and thought Snyder did a great job bringing it to the screen. And because 'Lost' is absolutely amazing, I'll see whatever Lindelof churns out. Neither Regina King nor anyone else in the cast is cool enough to tie Earle Haley's Rorschach's grubby shoelaces, though, and while the first season of this peculiarly overrated quasi-sequel does grow better as the narrative threads finally come together, I was never compelled to keep watching. Now go watch 'The Boys' instead.

Damon Lindelof has mastered the art of convincing everyone he is smart, without any merit whatsoever. He plants colorful thematic seeds (which never bare fruit), spins the wheels of narrative muscle-cars (which never arrive at their destination), and soliloquizes (without saying anything). Watchmen is a C-tier fan-fiction bolstered by solid acting, editing, and production but lacks an understanding of both its own thematic thrust, its source material, and devolves into parody by the end.

This show has as much to do with Alan Moore's graphic novel as Lost has to do with being stranded on a desert island.

Arguably a more interesting take on Moore & Gibbons' seminal novel than Snyder's 1 to 1 adaptation, but despite throwing a lot of neat ideas, cool aesthetics and timely thematics into the pop-art blender, it doesn't really come together in the end.

Every detail and plot device has a meaning and it will make sense by the end. Don't skip out on what you think is the writers creating a plot device and leaving it. It's a narrative that is sprawling and it takes time to make sense of it all with the moving parts consistently moving to the pay off. Well acted by all involved in this engaging project. It truly is a one shot from beginning to end and one that pays homage to the roots it came from while also reinventing itself.

Like many powerful liberals, Lindelöf (who described himself as having been "complicit w/ white supremacy" bc words mean whatever the woke elite say they mean) thinks racist Ta Nahisi Coates is a genius for arguing EVERY black problem is the fault of racism. He makes a carefully plotted & imaginative Watchmen sequel, but its reparations time too, so he retcons 1 character & ignores Moores original ending for Dr Manhattan. If you want old faves turned into a form of reparations, this is perfect.

The Post-Trump narratives... they are finally here!

Quit after 3 episodes. Hated all 3.