Watchmen: Something Old, Something New

Originally released at the tail end of the Cold War, Watchmen has historically followed a narrative entrenched in Americanized political commentary.  The plot of the initial 12-issue run (1986-1987) heavily relied on then-relevant themes of doomsday, paranoia, and wartime, exploring cultural unease via an engaging cast of fascinatingly flawed characters.

HBO’s newest adaptation of the series does exactly the same.  The only difference? About 30 years.

If you’re looking for a panel-by-panel recreation of your favorite graphic novel, then you’re better off sticking with Zack Snyder’s 2009 adaptation.  This new series won’t scratch that itch and, in fact, it may even have you screaming at your screen with a slew of confused profanity. So far the series merely glances in the general direction of the graphic novel, with only a few subtle scraps for the knowledgeable watcher to feast upon. Don’t press play unless you’re excited to see something new.  

But in a media landscape saturated with reboots, remakes, and whatever it is Disney keeps doing, a new twist comes as a welcome reprieve.  Instead of a direct retelling, the show is something of a sequel to the original story, set in modern times with mostly new characters. While the events of the show do seem to take place after the events of the graphic novel (as evidenced by the promised in-show documentary featuring the original Minutemen team—perhaps an adaptation of Hollis’ in-novel biography Under the Hood for a video medium?) the two stories don’t yet link up directly.  

No worries for hardcore fans, however.  Although the plot and the characters have changed, the core of the story remains.  Like any creator worth their craft, showrunner Damon Lindelof knows his audience. Even among the most dedicated readers, ideas that resonated with people in the 1980s aren’t likely to resonate as strongly with those in the 2010s.  Lindelof attempts to bring this story into the present day, focusing on now-relevant themes of divisiveness, power imbalances, and social consciousness. By exploring this universe through an updated lens, Watchmen can get straight to the heart of the story without dragging the Iron Curtain alongside it.  

Our war with communism has long staled.  Our war with white supremacy is immediate, raw, and urgent.  Why rely on Cold War allegories when the real deal is right in front of us?

This episode doesn’t shy away from this discussion, starting with a flashback to the 1921 Tulsa race massacre.  A black family runs through the riots, narrowly avoiding gunfire, bearing witness to the white men in white robes who burn, bomb, and lynch black residents.  It is not for the faint of heart. But it sets the stage for what is yet to come and announces the series’ intent with unavoidable certainty. Talk about it, it seems to beg.  We have to talk about it.

The theme continues throughout the entire episode, following Angela Abar in present day as she outright pursues a white supremacist group in familiar, adventurer fashion.  She and her team discover that there may be a grander plan afoot, which we will no doubt learn more about as the series progresses. Then, in a sterling example of ironclad storytelling, the ending emphasizes the theme one last time with a twist that, despite its predictability, has viewers wondering what comes next.  

This story is just as promising as it is risky.  It’s still too soon to tell if Lindelof and his team can pull it off in our divided cultural climate, but the pilot shows potential.  New characters and new settings are going to allow for some much needed exploration in the world of comics and television alike. While certainly not the 20-episode hyper detailed adaptation viewers may have hoped for, it might just be the unique new story that surprises us all.