If you are a little fascinated by the storyline of this series, you will be blown away by this episode. Probably the best episode of the show so far! Not only it connects the missing pieces but the way it does is so remarkably exquisite. The cinematography and screenplay really takes it to the next level. Adds more depth to an already intricate storyline. A must watch
79 Reviews
Brilliant Origin Story
revchristodd-138-98572622 December 2019
Warning: Spoilers
This episode ties the whole series together. It takes a key but undeveloped character from the graphic novel and gives him a totally unexpected but logical backstory. It explains the character's costume and draws a parallel between the first costumed hero in this world and the first superhero in our world, Superman, whose first appearance in comic books is obliquely referred to. Furthermore, Superman was created by 2 Jewish teens at the time of the rise of the Nazis, who were active even in the US. And it makes sense that the first masked vigilante would be a person from another oppressed minority who knew official justice could not be relied upon. This is is a brilliant concept and gives the series its moral core.
Literal masterpiece.
W011y4m525 November 2019
HBO's Watchmen manages to further build upon its layered, rich mythology in a beautifully inventive, genius style, channelling Alejandro González Iñárritu's Birdman through some genuinely sublime noir cinematography & direction from powerhouse duo Stephen Williams & DoP Gregory Middleton. This episode is breathtaking, brutal & unflinchingly intelligent.
Marvelous episode
Fanatic_movie_goer25 November 2019
Intelligent episode. Finally we know Will Reeves' point in this series. This episode had the grip to keep you watching it until the end.
The black/white cinematography and a hint of color in it, was spot on. It will make you more interested in Will Reeves.
The music was good. I especially liked the scene at the end, with the warehouse scene. It had the hooked on the right situations and the music also had the feel of sorrow.
This episode was great and I hope that it will stay great to the end. I will wait for the next episode and hope that it will stay as mysterious and interesting to the end.
The black/white cinematography and a hint of color in it, was spot on. It will make you more interested in Will Reeves.
The music was good. I especially liked the scene at the end, with the warehouse scene. It had the hooked on the right situations and the music also had the feel of sorrow.
This episode was great and I hope that it will stay great to the end. I will wait for the next episode and hope that it will stay as mysterious and interesting to the end.
Outstanding
ay625 December 2019
Without getting too excessively wordy about it, this episode is truly outstanding! Some pretty heavy material which may be uncomfortable for some, but brilliantly executed with flare and style. This episode treads where other shows may fear to tread, and it's a good thing that it does; it carries the viewer through the rollercoaster of emotions of the episode's focal character and ultimately leaves the viewer with that character's cold nugget of determination and vengeance in the pit of their stomach.
Better than the movie.
allkillahnofillah26 November 2019
Probably the most accurate comic book to tv show adaptation.
Even better than the movie since it also includes an actual dark history of United States of America.
As a viewer outside of USA, it's amazing to see the USA has a dark history of its own and is not afraid to make a tv show out of it. Kudos to whoever made this possible.
Even better than the movie since it also includes an actual dark history of United States of America.
As a viewer outside of USA, it's amazing to see the USA has a dark history of its own and is not afraid to make a tv show out of it. Kudos to whoever made this possible.
Best Episode So Far Explains Amerikkka Quite Well
iGlad25 November 2019
Warning: Spoilers
For some 'people' this episode won't go down to well as it means they have to face the truth and some people can't handle that. I loved this episode as it helped explain the grandfathers role from the past. Anyone taking out the klan and burning the dead bodies is ok with me and if it's a black man doing that's a double bonus in my book.
The best episode so far.
The best episode so far.
Hooded Justice
Cineanalyst25 November 2019
Warning: Spoilers
I've been hesitantly following HBO's "Watchmen" series, unsure whether it will progress in interesting directions, but I want to comment on this episode, "This Extraordinary Being," because it's some of the best TV I've seen in awhile. It's a shame, really, that something this cinematically self-reflexive wasn't produced for theatrical release, but this is the so-called current "golden age of television" we live in, I suppose. Regardless, this is unusually smart superhero stuff here. Alan Moore's "Watchmen" and, later, Zack Snyder's movie adaptation, were always hyper reflective of reality relative to other superhero fare; in that case, it was an extension of Cold War politics. In HBO's follow-up series, it's mostly reflective of race in America. The brilliant aspect of this particular episode is how well it integrates the history of film, real-life masked vigilantes and comic-book superheroes with the racial issues, all of which lends itself well to a desaturated black-and-white look.
It reminds me of two recent feature films that similarly dealt with doubling and representation as it relates to race and motion pictures. Most recently, in "BlackKklansmen" (2018), Spike Lee, rather clumsily I thought, drew a line from "The Birth of a Nation" (1915), through "Gone with the Wind" (1939), to President Donald Trump today and, conversely, looked for a rebalancing of these racist misrepresentations in the history of Blaxploitation cinema of the 1970s. A better picture is Jordan Peele's "Get Out" (2017), which includes a "sunken place" not entirely unlike the "Nostalgia" drug trip Angela finds herself in this episode. The benefits of feature-length filmmaking seem apparent to me in this comparison, as Peele was afforded more time to subtly develop the doubled themes of societal and photographic racial representation. "This Extraordinary Being" covers much of the same material, but has to be quicker and blunter about it, but that's the only reservation I have for what is otherwise some of the best TV has to offer.
In it, we have the framing narrative of the rest of the series, whereby Angela ingests the memories of her grandfather and, consequently, falls into a coma that is the main narrative we see. Thus, there's already a doubling of characters in sharing memories, but the two are also related genetically and share similar lives as police and masked vigilantes. The themes of doubling and motion-picture representations of race are furthered by a series of self-references to relevant fake and real motion pictures and a comic book. Angela's grandfather, who it turns out is the superhero Hooded Justice, was inspired by another, actually-real, hero, Bass Reeves. In the show, there's a fake 1921 silent-film-within-the-TV-series, "Trust in the Law," about Reeves. Again mixing fantasy and reality, the fake film is credited to a real-life filmmaker, Oscar Micheaux.
In addition to this African-American inspiration for H.J., there are two important products of the dominant White culture at play. The first are the Superman comics, which include a Moses-like narrative (of him being orphaned by his birth parents and sent to another land) similar to H.J.'s origin story of surviving the 1921 Tulsa race riot, or massacre. Like Superman, Hooded Justice grew up to put on a cape and fight baddies, too. The second, unspoken product here is D.W. Griffith's 1915 epic "The Birth of a Nation," probably the most influential film ever made. Two important consequences of Griffith's film here are, one, that it really did influence Micheaux to combat such hateful ideology by making films of his own ("Within Our Gates" (1920) probably remains his best-known real surviving film) and, two, "The Birth of a Nation" largely revived the Ku Klux Klan. Indeed, it was employed by the bigoted terrorist organization as a recruitment tool. In this "Watchmen" episode, the Klan likewise employs cinema to attack African Americans--albeit in a more convoluted fashion resulting in Black people being mesmerized into attacking each other and themselves. Later, Hooded Justice co-opts this trick with a stroboscopic light.
Out of this racial context, H.J. adopts a dual identity that straddles both cultures: Black policeman (inspirational, perhaps, but ineffective as thwarted by racist cops who double as Klansmen) and superhero Hooded Justice (who conceals his racial identity under whiteface makeup, thereby undermining the representation of his race, while otherwise being more effective at combating the Klan). He also discovers in teaming up with other supes for the Minutemen that they're a joke. Not surprising, after all, given that Hooded Justice was originally written by Moore as seemingly another White character--despite the connotations his wearing a noose around his neck imply regarding the history of lynching in America. Changing his race for the series was wise. Ironically, there's also a TV-show-within-the-show where H.J. is portrayed by a White actor. That the superhero is also a homosexual or bisexual in a past age of rampant homophobia only furthers the dualities largely forced upon the marginalized groups by the dominant culture.
Thus, within an hour runtime, we have one character's memories played out within another character's mind, both of whom share genetics and lifestyles. This is played as a dream that goes in and out as reality fights to set back in. We also have nested films and a TV series within the actual HBO "Watchmen" show. Some of these motion pictures inspire hope and others incite hatred. We have the Superman comics, too. We have good masked vigilantes (H.J. and Sister Night, presumably), bad ones and, more or less, just stupid ones (Captain Metropolis). Furthering the doubling, we have gay men passing as straight, a Black man passing as White, a White actor in the role of a Black superhero in the inner series, and a real-life Black marshal celebrated by Whites only in the fiction of the inner film. This is powerful because the show-makers demonstrably understand the power of motion pictures, from "The Birth of a Nation" through the golden age of TV. Beware the cyclops: the mesmerizing one-eyed cinematographic apparatus.
It reminds me of two recent feature films that similarly dealt with doubling and representation as it relates to race and motion pictures. Most recently, in "BlackKklansmen" (2018), Spike Lee, rather clumsily I thought, drew a line from "The Birth of a Nation" (1915), through "Gone with the Wind" (1939), to President Donald Trump today and, conversely, looked for a rebalancing of these racist misrepresentations in the history of Blaxploitation cinema of the 1970s. A better picture is Jordan Peele's "Get Out" (2017), which includes a "sunken place" not entirely unlike the "Nostalgia" drug trip Angela finds herself in this episode. The benefits of feature-length filmmaking seem apparent to me in this comparison, as Peele was afforded more time to subtly develop the doubled themes of societal and photographic racial representation. "This Extraordinary Being" covers much of the same material, but has to be quicker and blunter about it, but that's the only reservation I have for what is otherwise some of the best TV has to offer.
In it, we have the framing narrative of the rest of the series, whereby Angela ingests the memories of her grandfather and, consequently, falls into a coma that is the main narrative we see. Thus, there's already a doubling of characters in sharing memories, but the two are also related genetically and share similar lives as police and masked vigilantes. The themes of doubling and motion-picture representations of race are furthered by a series of self-references to relevant fake and real motion pictures and a comic book. Angela's grandfather, who it turns out is the superhero Hooded Justice, was inspired by another, actually-real, hero, Bass Reeves. In the show, there's a fake 1921 silent-film-within-the-TV-series, "Trust in the Law," about Reeves. Again mixing fantasy and reality, the fake film is credited to a real-life filmmaker, Oscar Micheaux.
In addition to this African-American inspiration for H.J., there are two important products of the dominant White culture at play. The first are the Superman comics, which include a Moses-like narrative (of him being orphaned by his birth parents and sent to another land) similar to H.J.'s origin story of surviving the 1921 Tulsa race riot, or massacre. Like Superman, Hooded Justice grew up to put on a cape and fight baddies, too. The second, unspoken product here is D.W. Griffith's 1915 epic "The Birth of a Nation," probably the most influential film ever made. Two important consequences of Griffith's film here are, one, that it really did influence Micheaux to combat such hateful ideology by making films of his own ("Within Our Gates" (1920) probably remains his best-known real surviving film) and, two, "The Birth of a Nation" largely revived the Ku Klux Klan. Indeed, it was employed by the bigoted terrorist organization as a recruitment tool. In this "Watchmen" episode, the Klan likewise employs cinema to attack African Americans--albeit in a more convoluted fashion resulting in Black people being mesmerized into attacking each other and themselves. Later, Hooded Justice co-opts this trick with a stroboscopic light.
Out of this racial context, H.J. adopts a dual identity that straddles both cultures: Black policeman (inspirational, perhaps, but ineffective as thwarted by racist cops who double as Klansmen) and superhero Hooded Justice (who conceals his racial identity under whiteface makeup, thereby undermining the representation of his race, while otherwise being more effective at combating the Klan). He also discovers in teaming up with other supes for the Minutemen that they're a joke. Not surprising, after all, given that Hooded Justice was originally written by Moore as seemingly another White character--despite the connotations his wearing a noose around his neck imply regarding the history of lynching in America. Changing his race for the series was wise. Ironically, there's also a TV-show-within-the-show where H.J. is portrayed by a White actor. That the superhero is also a homosexual or bisexual in a past age of rampant homophobia only furthers the dualities largely forced upon the marginalized groups by the dominant culture.
Thus, within an hour runtime, we have one character's memories played out within another character's mind, both of whom share genetics and lifestyles. This is played as a dream that goes in and out as reality fights to set back in. We also have nested films and a TV series within the actual HBO "Watchmen" show. Some of these motion pictures inspire hope and others incite hatred. We have the Superman comics, too. We have good masked vigilantes (H.J. and Sister Night, presumably), bad ones and, more or less, just stupid ones (Captain Metropolis). Furthering the doubling, we have gay men passing as straight, a Black man passing as White, a White actor in the role of a Black superhero in the inner series, and a real-life Black marshal celebrated by Whites only in the fiction of the inner film. This is powerful because the show-makers demonstrably understand the power of motion pictures, from "The Birth of a Nation" through the golden age of TV. Beware the cyclops: the mesmerizing one-eyed cinematographic apparatus.
Hooded Justice
maxglen20 December 2019
Wow. What an episode. It builds upon the characters in an interesting and unique way and links into the comic satisfyingly. The world of Watchmen just got a whole lot bigger and better for it. William went from being an interesting yet inconsequential character to one of the most important in the whole Watchmen myth is. Besides that this episode is presented and filmed in such an interesting and dare I say beautiful way. One of the best chapters in the whole Watchmen story and elevates this show from good to great, rubbing shoulders with it's source material.
"Trust in the law"
TheLittleSongbird3 November 2020
Extraordinary is a very apt way to describe "This Extraordinary Being". It is very hard to not expect a huge amount after such an outstanding previous episode in "Little Fear of Lightning". Which was the episode where 'Watchmen' did properly start to hit its stride and start being the superb show that it became after a mostly impressive but very much imperfect first half to the show (where only "She Was Killed By Space Junk" was great). This episode did not disappoint.
If asked what gets my vote as the best episode of 'Watchmen', it would be for me a joint first between "This Extraordinary Thing" and the penultimate episode "A God Walks Into Abar", with a very close second being "Little Fear of Lightning". If anybody is still recovering from the emotional impact of Looking Glass' origin story that dominated "Little Fear of Lightning", lets just say prepare yourself to get your heart ripped into two even more and cry even more buckets. Being somebody that watched both episodes back to back pretty much, that experience made for an incredibly emotional couple of hours.
"This Extraordinary Being" is one of the show's best looking episodes (stylistically too it stands out), which is quite a compliment as 'Watchmen' is one of the best and most ambitious looking shows in recent years. The black and white photography is really quite stunning and very film-noir-like, which is a big compliment being a big fan of film-noir that the production values reminded me of. The music also doesn't disappoint, the scoring is still haunting and in perfect keeping with the bold tone and the pre-existing music is also used cleverly. One of the most emotionally impactful uses of music on 'Watchmen' is here with "Living in the Past".
Some of 'Watchmen's' best writing can be seen in "This Extraordinary Being" too. There is less of the subtle or sharp wit of other episodes, but the gritty bite increases here as does the boldness. The more expositionary moments don't ramble or over-explain, or at least not so to me, and nothing felt unnecessary. The story, doing so well in connecting all the pieces and starting to put them into place, is deliberate in pace but utterly compelling, because of the unflinching approach to such heavy and painfully relevant still subject matter ('Watchmen' never held anything back throughout its run and this is most evident in this episode) and the emotional impact. It's one of the episodes closest in spirit and thematically to the source material and does so well in building upon the themes and making them timely in all the periods dealt with here.
It's another episode that relies heavily on flashbacks. Another being the second episode "Martial Feats of Comanche Horsemanship". For me, "This Extraordinary Thing" handled its respective flashbacks a lot better, more emotionally investable, more cohesive structurally, more interesting characters centred around and more importantly they don't bog down the momentum which the other episode was not as successful in not doing. One cannot not mention the big revelation, in a show full of them the one here (the truth about Hooded Justice) this was the one that actually left me staggered the most.
Have nothing to fault the characterisation for, Angela is at her most interesting at this point of the show's run and one feels for her. Will and Hooded Justice are even meatier though, Will is a complex figure and Hooded Justice really unsettles. The performances are dead on too, Regina King is on magisterial form and shows a more vulnerable side to her usual fearless one. Louis Gossett Jr is even more majestic and commands the screen powerfully, while Cheyanne Jackson chills as Hooded Justice.
Summarising, simply extraordinary television and some of the best for any show in recent years. 10/10
If asked what gets my vote as the best episode of 'Watchmen', it would be for me a joint first between "This Extraordinary Thing" and the penultimate episode "A God Walks Into Abar", with a very close second being "Little Fear of Lightning". If anybody is still recovering from the emotional impact of Looking Glass' origin story that dominated "Little Fear of Lightning", lets just say prepare yourself to get your heart ripped into two even more and cry even more buckets. Being somebody that watched both episodes back to back pretty much, that experience made for an incredibly emotional couple of hours.
"This Extraordinary Being" is one of the show's best looking episodes (stylistically too it stands out), which is quite a compliment as 'Watchmen' is one of the best and most ambitious looking shows in recent years. The black and white photography is really quite stunning and very film-noir-like, which is a big compliment being a big fan of film-noir that the production values reminded me of. The music also doesn't disappoint, the scoring is still haunting and in perfect keeping with the bold tone and the pre-existing music is also used cleverly. One of the most emotionally impactful uses of music on 'Watchmen' is here with "Living in the Past".
Some of 'Watchmen's' best writing can be seen in "This Extraordinary Being" too. There is less of the subtle or sharp wit of other episodes, but the gritty bite increases here as does the boldness. The more expositionary moments don't ramble or over-explain, or at least not so to me, and nothing felt unnecessary. The story, doing so well in connecting all the pieces and starting to put them into place, is deliberate in pace but utterly compelling, because of the unflinching approach to such heavy and painfully relevant still subject matter ('Watchmen' never held anything back throughout its run and this is most evident in this episode) and the emotional impact. It's one of the episodes closest in spirit and thematically to the source material and does so well in building upon the themes and making them timely in all the periods dealt with here.
It's another episode that relies heavily on flashbacks. Another being the second episode "Martial Feats of Comanche Horsemanship". For me, "This Extraordinary Thing" handled its respective flashbacks a lot better, more emotionally investable, more cohesive structurally, more interesting characters centred around and more importantly they don't bog down the momentum which the other episode was not as successful in not doing. One cannot not mention the big revelation, in a show full of them the one here (the truth about Hooded Justice) this was the one that actually left me staggered the most.
Have nothing to fault the characterisation for, Angela is at her most interesting at this point of the show's run and one feels for her. Will and Hooded Justice are even meatier though, Will is a complex figure and Hooded Justice really unsettles. The performances are dead on too, Regina King is on magisterial form and shows a more vulnerable side to her usual fearless one. Louis Gossett Jr is even more majestic and commands the screen powerfully, while Cheyanne Jackson chills as Hooded Justice.
Summarising, simply extraordinary television and some of the best for any show in recent years. 10/10
Best episode
sonnylucas-2856511 April 2020
the biggest flaw of the episode nobody saw
the_dudde26 November 2019
If she found the old man under the tree and took his pills.that means that the pills contained memories before the events of the tree..so!how can when she takes the pills she can see what happened that night from his memories that werent stored in the jaar...?
i know that they directed it for us to see what happened through ber eyes but i dont care..a coherent scenario must apply..if you want to be taken seriously as a writer
Visually stunning!!!
ruanstb14 December 2019
Now watchmen is starting to shine!
brendanpzz25 November 2019
Brilliant episode to fill in the gaps and so well shot. every minute of this episode keeps you captivated and the noir setting and theme just masterful need more like this in television. Just to add this episode to me just sets the bar and gives off such westworld themes to it in the way its filmed in my mind
A masterpiece
mylifeinintranet26 November 2019
Genius.
aidanalderdice25 November 2019
As with my review of the previous episode (if you happened to see it), there isn't much I can even say without spoiling things. All I will say is that this episode incorporates the story of every episode previous, while still being entirely unique. It's just...genius.
Cinematography was masterful
JojoNDat13 February 2020
Read the title. The way this episode is shot is how all black and white films should be made. I haven't watched too many of them but if they were all shot like this, I would watch them all. The way images were superposed on top of each other, the surrealism of the memories blending together in and out of colour. It was all done so well.
One of the best episodes of a series in the history of moving pictures
josemichaelpadin28 June 2020
Warning: Spoilers
*** Semi-Spoilers ****
Throw out the angle of the super hero origin story. An origin of character created in the 80s, that until this episode was never fully realized.
Throw out the angle of the "Nostalgia" medication.
The story that is woven, the way the visual elements meld together. The change in perspective and timeline that keep the story alive and explain the character motivations ... masterful. It is a work of art that should earn every award possible. This episode can stand on its own with little background into the mythology of the Watchmen.
It can stand as an American history lesson that should be taught in our schools.
Now add back in the fact that this origin story for Hooded Justice is so logical and makes so much sense. Did Allen Moore mean for this to be HJ's origin story in the original story? Was the o world not ready to be confronted with this story in the 80s? If it wasn't Lindelof is a genius story teller to take this angle.
Amazing on so many levels.
Throw out the angle of the super hero origin story. An origin of character created in the 80s, that until this episode was never fully realized.
Throw out the angle of the "Nostalgia" medication.
The story that is woven, the way the visual elements meld together. The change in perspective and timeline that keep the story alive and explain the character motivations ... masterful. It is a work of art that should earn every award possible. This episode can stand on its own with little background into the mythology of the Watchmen.
It can stand as an American history lesson that should be taught in our schools.
Now add back in the fact that this origin story for Hooded Justice is so logical and makes so much sense. Did Allen Moore mean for this to be HJ's origin story in the original story? Was the o world not ready to be confronted with this story in the 80s? If it wasn't Lindelof is a genius story teller to take this angle.
Amazing on so many levels.
This Is An Extraordinary Episode
ahsawesa3 December 2019
Episode 6 of HBO's @watchmen TV Show is one of the best episodes I have ever seen of anything.
Told in a 40's film noir fashion, this is a master class in cinematography, editing, writing and acting. Damon Lindelof has conceived one of the best origin stories to ever grace the screen. This episode elevates this show to a whole new level by beautifully bringing together all the vague story elements and subplots that were introduced earlier in the show.
If you are not watching this then do yourself a favor, either read the original Watchmen graphic novel and then watch this or just take a quick recap of it from YouTube and start watching this show because trust me you do not want to miss this.
I rarely give a 9/10 but this was a 9/10 episode.
Told in a 40's film noir fashion, this is a master class in cinematography, editing, writing and acting. Damon Lindelof has conceived one of the best origin stories to ever grace the screen. This episode elevates this show to a whole new level by beautifully bringing together all the vague story elements and subplots that were introduced earlier in the show.
If you are not watching this then do yourself a favor, either read the original Watchmen graphic novel and then watch this or just take a quick recap of it from YouTube and start watching this show because trust me you do not want to miss this.
I rarely give a 9/10 but this was a 9/10 episode.
Watchmen could become an all time great
jay-9557826 November 2019
There's something about Damon Lindelof lately. The final two seasons of The Leftovers were absolute stunning masterpieces, but I wasn't sure if that was a mixture between pure fluke and the rich source of ideas that came from Tom Perrotta's novel, or whether it's because Damon Lindelof has hit some kind of creative sweet spot. When Watchmen began I was hesitant, it was fine but I was hardly going to be raving all over the internet. However, this series has gradually flowered over these 6 episodes to the point where I can now confirm Damon Lindelof is definitely riding a creative wave. This episode is truly inspired television. Just think about how many things had to come together to make this work from the original concept to the structure, and to finding a team of people who could share the vision. Lindelof is definitely THE name to beat in prestige television at the moment.
This extraordinary episode
tlyoung8826 January 2020
Everything leads up to episode 6 for the big reveal, and what a reveal it is. The Secret Origin of Hooded Justice tied to the rise of white supremacists in Tulsa and the Tulsa Riots.
This episode is one of the best origin stories of a masked vigilante that I've seen in years. The comic is dark and gritty, ultra-realistic and very pointed. This allegory of race relations and suppressed anger of a downtrodden race reaches a boiling point as translated by the conventions of a comic book television format.
Well done. This one deserves the Emmy.
This episode is one of the best origin stories of a masked vigilante that I've seen in years. The comic is dark and gritty, ultra-realistic and very pointed. This allegory of race relations and suppressed anger of a downtrodden race reaches a boiling point as translated by the conventions of a comic book television format.
Well done. This one deserves the Emmy.
This Extraordinary Being
Prismark1014 January 2020
So Lindelof ends episode 5 with a cliffhanger and the next episode is another standalone episode. So we have to wait to find out about Wade's fate.
With Angela Abar taking a drug meant for her grandfather. She overdoses on Nostalgia and relives his memories.
A black cop in Oklahoma in the 1930s and 40s. He transforms into the Hooded Justice when he realises that a black cop is at risk from white cops.
The episode does well in showing the origins of some well known superheroes before a few of them became all American scouts. They emerged to fight injustices. They were outsiders to reflect the experiences of minorities and immigrants.
Siegel & Shuster (Superman) Bob Kane (Batman) and Stan Lee (Spiderman) were Jewish. The increase in the arrivals of Jews in the early 20th century saw an increase in Klan activity. Superman was used to mock the Klan. Their nemesis were often people who had an anti immigration rhetoric.
However it is clear that this Watchmen television series has set a meandering course.
With Angela Abar taking a drug meant for her grandfather. She overdoses on Nostalgia and relives his memories.
A black cop in Oklahoma in the 1930s and 40s. He transforms into the Hooded Justice when he realises that a black cop is at risk from white cops.
The episode does well in showing the origins of some well known superheroes before a few of them became all American scouts. They emerged to fight injustices. They were outsiders to reflect the experiences of minorities and immigrants.
Siegel & Shuster (Superman) Bob Kane (Batman) and Stan Lee (Spiderman) were Jewish. The increase in the arrivals of Jews in the early 20th century saw an increase in Klan activity. Superman was used to mock the Klan. Their nemesis were often people who had an anti immigration rhetoric.
However it is clear that this Watchmen television series has set a meandering course.
Why do we even call this Watchmen?
konyari_urfi25 November 2019
Up to this episode I was very optimistic.. But this was the most boring and forced thing I've seen after this week's the Walking Dead. I mean what the hell? Season is almost over and I just can't see if we're heading somewhere with it. Also I do not entirely think that it was necessary to spend a full episode for this storyline. they've just wasted a whole lot of precious time. Anyone else was expecting something about Doctor Manhattan after reading the title? I mean "this extraordinary being"? How the hell this title is related to the Hooded Justice? Christ at least just a little teasing at the end. But yAAAY NOTHING. And no Jeremy Irons either?? Hope I'm gonna be wrong but this is heading towards a huge mess in my opinion. I'm gonna finish this season just because I have spent 6 episodes watching, and waiting for the boom. Snyder's movie a thousand times than this one ever again.
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