Shout by Kenneth Sundby
VIP4I think if I tried pointing out all the illogical parts of this episode I'd run out of space, but let's just go with the dumbest part: Why on earth did they bother with bringing Dixon and O'Donnell on the chopper just to dump them? Obviously it was just an excuse to open the doors so Reacher could crawl in, but so far this season the writers don't seem to bother asking themselves "what is the goal of the character here"
And why was Reacher in charge of what happened with the money? A bit weird, as he's not their boss but whatever
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You clearly weren't paying attention... 'The Terminator' told you why, and why they dug the bullet out of the leg... It's good to keep up.
That was a satisfying ending!
They better bring this guy back for a third season
He finally got a new toothbrushloading replies
Season 3 is already filming. All good.
That was a satisfying ending!
They better bring this guy back for a third season
He finally got a new toothbrushloading replies
@feeltheduck Already confirmed for a third before the second aired. No need to worry about that!
Have people not realize yet that this is a low stakes, stand-alone kind of show?
"adds nothing to the MCU". No shit!
Does everything have to be fucking connected? Lighten up, DUDES.loading replies
@wingedmando That's literally what he just said, that one flew right over your head.
Pointing out what Indians did to Muslims without pointing Indians.
Well played Disney.
Well played.loading replies
@hamadam I think it's quite clear it was the British who were responsible for whatever transpired.
She-Hulk twerking tells you all you need to know about how bad this show is
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@quasar1967 you made it to the end... well done
30 minutes, of which 10 minutes look back at the previous episode and intro and credits. So 20 minutes an episode. WOW how bad. Surprised this episode still gets a 6 from viewers here.
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@peterthegreat71 Why should the length of a show be affecting the rating that much? Also, the episode is exactly 23 minutes 30 seconds from the "MARVEL Studios" intro to "Georgia" outro, with a 1 minute 39 seconds show credit.
As a former soldier I wish this show had a much better military liaison or at least writers who can do a bit more research. Most of the Army scenes are so cringe I have to walk away before I start shouting at the tv.
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Welcome to television shows. As a computing engineer I know this feeling too well when people use computers.
If Reacher thinks he's too good to follow the rules of that "Officers club" why doesn't he go somewhere else? Kind of a douchebag to start a fight like that.
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Yep, I thought the same in the moment (and at his “mail police” comment), but at least it was somewhat mitigated by the later-revealed manipulative team-building intention. Still leaves a bad taste in my mouth after seeing how they were pummeling the already-downed bodies of those innocent guys who were pulled into his self-induced fight..
Can we stop with Wakanda already. Didn't like Black Panther and this is by far the weakest episode, yet.
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@marcel1983 Well, Wakanda is the main country of the MCU after all, at least when it comes to science and tech.
Can we stop with Wakanda already. Didn't like Black Panther and this is by far the weakest episode, yet.
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@marcel1983 any episodes that mention anything Wakanda related, just don't watch it. Then everyone's happy, those of us that are ok with the Wakanda storylines can watch them, people like you that are not, don't have to. All good :thumbsup_tone4:
Can we stop with Wakanda already. Didn't like Black Panther and this is by far the weakest episode, yet.
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@balazs955 This episode was written before his death, hence him being in it
Still wondering how Thor died to a single arrow (even if it had the extra force from Hank), it only took a DAY for Loki to take office and he also knew what a mobile phone is. Also why is Hank Yellowjacket, rather than Ant-Man?
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@volksdk In the comics Hank eventually turns evil and wears the yellow jacket costume
finally, an episode that actually lives up to the name What If, rather than just gender swapping or race swapping a character
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Hmmm, you have a remarkably narrow world view if all you took from those episodes was just "gender swapping or race swapping a character." T'Challa is a very different person than Peter Quill and Peggy Carter is much more assertive due to her upbringing than opposed to Steve Rogers. The previous two episodes have very little to do with race or gender, and much more to do with how contrasting personalities put in similar situations would create vastly different outcomes.
Yeah, as always Disney stealing back to back from the Japanese. Christine dying here is a rip off of Mayuri from Steins;Gate.
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@conradseba dude... are you for real? it's people like you who give everyone who watches anime a bad rep... get your head outta your arse mate!!!
No. I refuse to accept this ending.
There must be a season 2.
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I mean obviously there will be lol. That's why this is how this season ended.
Truly amazing episode. Got me choked up at the ending. It’s too bad that because of the strike that we haven’t heard future plans. I’m sure Filoni already has the complete story outlined at the least (cough cough unlike the sequel trilogy), so hopefully we hear plans for the future installments soon.
And I’m crossing my fingers they come quicker than 2 years between seasons. I’m really looking forward to how Mando and this are going to sync up before the film.
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@gk3 The SAG-AFTRA strike pushed EVERYTHING back at least half a year. Everything that wasn't already in the can that was scheduled for 2023 is not coming out until 2024 now. Ahsoka was the last Star Wars that was completed before the strike started from what I hear. Thankfully, it's over and the writers won. Hopefully that means they'll get to work on what's next as soon as they can.
Shout by Greg Young
VIP7As cool as it was to see the storm troopers being reanimated....are we to accept that lightsabers are just shit now?
Not one of them had an arm or leg cut off, which would basically remove all the threat from them.loading replies
@gig-glasgow I know at least one headless Deathtrooper who would beg to differ.
Why did Huyang have a spare kyber crystal on the ship? Why Ezra didn't use the Force to build his new lightsaber? Why didn't Morgan recover from her superficial belly wound like Sabine did with her impalment through internal organs? Why Ezra kept wearing his stormtrooper helmet when he escaped the Star Destroyer? Why Ahsoka and Sabine don't use the Perguls that go back to their galaxy, the same ones the nightsisters' ancestors used to get there? Why Trawn has such a positive outlook on life even when things don't go his way? Why Hera changed her orange pants to the brown ones that hides her butt in that one and only scene in the court martial? Why Anakin doesn't pull Ahsoka and Sabine back to the world between worlds and transport them back to their galaxy? Why people like the stuff Dave Felony writes?
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@mellowgeek
- Because he was a lightsaber builder
- Why does he need to?
- Plot armor
- Dramatic effect
- The space whales were scared away a few episodes ago
- Staying calm is part of his character and deliberately contrasts with the reactionary and aggressive tempraments of most Imperials
- People change pants irl too
- Force ghosts can't pull people into the World Between Worlds
You'd think a multi-million dollar show would have a better action sequence.What on earth was that scene where Ahsoka , Sabine and Ezra are dodging bullets from over 50 storm troopers , oh my god. That was sooo bad. Even I would have directed a better action sequence.
There is so much fury in Rosario Dawson's face while battling , but we can hardly see any of that in her fights and the result is embarrassingly cringe .
So we finished one complete season and we still haven't gotten a clue as to what Baylon Skoll's arc is? The actor has passed away , rest his soul , so I wonder what on earth would they do now .
The storm troopers usually have a zero plot armour in the movies , here they have been dialled down to -100.
And the director's idea to wrap up this garbage of a finale was to show a glimpse of Anakin in the end? Do you expect us to give a standing ovation for that?
Very very disappointing
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@TheBabaYaga Show: has practically an entire episode dedicated to the relationship between Anakin and Ahsoka and has a conversation in the finale about how Anakin was always there for her.
You: what was the point of having Anakin show up at the end, was it just supposed to be a fan service cameo?
Either you didn't pay attention to the show, or you're just looking for things to nitpick about and you decided a popular character showing up was an easy target.
Shout by Thomas 'Volks' Cunliffe
There is no way Sabine went from struggling to pick up a lightsaber to throwing a grown ass man that far within minutes
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@volksdk it was all about confidence.
We must conserve resources. Also make a gigantic minefield. Ahsoka must fly straight through and not like hit the brakes or fly up or down and avoid the mines.
Mr Ezra chilling laid back cracking jokes about hey guys gals I really hope I can go home, ya know what I mean, heh, heh, oh it's complicated? let's chat later.
This show doesn't know what it wants to be. Cute alien nomad tribe, soldiers, sabers, blasters .... and slingshots.
Can't get over the fact that Sabine travelled galaxies just to be with a boy bff.Thrawn and Baylan seem like the only adults in the room who understand consequences of actions.
And memberberries fan service 3PO and Leia name-drop, totally unnecessary.
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So, like, it’s not like your points aren’t valid or anything. But they’re not as big of a problem as you may think they are if you see the good in this show. For me, it works, and while not perfect, it’s quality content. Episodes 5 & 6 are where I got really pulled in, in some earlier ones I felt very much like you.
Was quite nice and felt in the best moments like good old Star Wars.
But!
I can understand why they wanted to have a strong women cast, but why need all men be so stupid? Ezra is being hit, when the battle began. So the women need to fix it! Those decisions are destroying the show a bit for me.loading replies
They're not? Ezra did nothing stupid and Thrawn is the most intelligent character in the series. I feel like you're searching for problems that simply aren't there
Review by Andrew Bloom
VIP9[7.7/10] I was so pleasantly surprised by this! I didn’t really know what to expect, with this being Marvel Studios’ first foray into animation and the high concept premise of the show. But I really enjoyed what we got.
For a while, I expected that this was really just going to be the plot of Captain America: The First Avenger except with Peggy slotted in rather than Steve. And that would still have been perfectly fun! Watching this show hit the same beats of that film, except with small but significant difference thanks to Captain Carter being in the role rather than Steve Rogers would have been worthwhile on its own.
For one thing, I like how this episode, as Agent Carter did, focuses on how even with her accomplsuhments, Peggy faces discrimination because of her gender. Of all the people for the MCU to bring back, it’s funny that it’s Bradley Whitford’s returning from the all-but forgotten Agent Carter one-shot. But he makes sense as someone who always thought too little of Peggy, stepping into a leadership role after Col. Phillips is shot, and creating an internal impediment.
To the same end, I like how the episode flips the dynamic with Peggy and Steve, but tshowing how they still understood one another and would bond with one another, even if their situations were changed. The two still falling in love, only to have Peggy making the heroic civilization-saving sacrifice play instead, is still heart-rending, and a nice sign that even as major things change, some things stay the same.
But I also liked the places where this episode goes off the reservation! Howard Stark building a proto-Iron Man suit for Steve Rogers called “The Hydra Stomper”? Yes please! Captain Carter saving Bucky, thereby avoiding the Winter Soldier situation (at least with him)? Hell yes. Her finding the tesseract and bringing it back to the good guys on an early mission? Awesome!
The further along the plot of First Avenger that this episode gets, the more it diverges and makes its own rules and own story, and I really appreciated that. Her team’s attack on Red Skull’s stronghold made for a rolokcing conclusion. I don’t know who Red Skull’s “champion” was. (Hive? A Chithuri?) But watching Peggy fight a giant squid monster while the Howling Commandos rescue Steve made for a killer conclusion.
I was especially impressed by the fight sequences here. I have to admit that I had some reticence about the cell-shaded graphics. In truth, the vocal tracks didn’t always sink perfectly. But the action was surprisingly fluid and well-staged. The show uses the freedom of animation to add greater flow to Captain Carter’s badassery, and some of the combat has a more impressionsitic style that makes it top tier MCU fisticuffs. Even the use of lighting and color in these fights stand out. Going into What If...? my biggest concern was the visuals, but they came through like gangbusters.
Overall, this was an exciting start to this new show and raised my expectations for What If...? to be more than a shiny lark, and instead be a meaningful exploration of what these changes in the path might look like.
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@andrewbloom Just popping in to say i'm 99% sure the tentacleboy is Shuma-Gorath! From my understanding (which might not be fully accurate) he's basically an extra-dimensional being of chaos and superbly powerful. I think his appearance adapts itself to the viewer because his true form cannot be comprehended by mortals (hi Lovecraft), andddd Hydra worships him in the comments and want to revive him, or bring him back? Anyway, super good to see that Marvel is taking this show as an opportunity to get some of the crazier comics stuff in.
Review by Andrew Bloom
VIP9[7.7/10] I was so pleasantly surprised by this! I didn’t really know what to expect, with this being Marvel Studios’ first foray into animation and the high concept premise of the show. But I really enjoyed what we got.
For a while, I expected that this was really just going to be the plot of Captain America: The First Avenger except with Peggy slotted in rather than Steve. And that would still have been perfectly fun! Watching this show hit the same beats of that film, except with small but significant difference thanks to Captain Carter being in the role rather than Steve Rogers would have been worthwhile on its own.
For one thing, I like how this episode, as Agent Carter did, focuses on how even with her accomplsuhments, Peggy faces discrimination because of her gender. Of all the people for the MCU to bring back, it’s funny that it’s Bradley Whitford’s returning from the all-but forgotten Agent Carter one-shot. But he makes sense as someone who always thought too little of Peggy, stepping into a leadership role after Col. Phillips is shot, and creating an internal impediment.
To the same end, I like how the episode flips the dynamic with Peggy and Steve, but tshowing how they still understood one another and would bond with one another, even if their situations were changed. The two still falling in love, only to have Peggy making the heroic civilization-saving sacrifice play instead, is still heart-rending, and a nice sign that even as major things change, some things stay the same.
But I also liked the places where this episode goes off the reservation! Howard Stark building a proto-Iron Man suit for Steve Rogers called “The Hydra Stomper”? Yes please! Captain Carter saving Bucky, thereby avoiding the Winter Soldier situation (at least with him)? Hell yes. Her finding the tesseract and bringing it back to the good guys on an early mission? Awesome!
The further along the plot of First Avenger that this episode gets, the more it diverges and makes its own rules and own story, and I really appreciated that. Her team’s attack on Red Skull’s stronghold made for a rolokcing conclusion. I don’t know who Red Skull’s “champion” was. (Hive? A Chithuri?) But watching Peggy fight a giant squid monster while the Howling Commandos rescue Steve made for a killer conclusion.
I was especially impressed by the fight sequences here. I have to admit that I had some reticence about the cell-shaded graphics. In truth, the vocal tracks didn’t always sink perfectly. But the action was surprisingly fluid and well-staged. The show uses the freedom of animation to add greater flow to Captain Carter’s badassery, and some of the combat has a more impressionsitic style that makes it top tier MCU fisticuffs. Even the use of lighting and color in these fights stand out. Going into What If...? my biggest concern was the visuals, but they came through like gangbusters.
Overall, this was an exciting start to this new show and raised my expectations for What If...? to be more than a shiny lark, and instead be a meaningful exploration of what these changes in the path might look like.
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@zotobom Super interesting! Thank you for dropping some knowledge!
Wonderful show partially weighed down by more of modern pc bs.
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@donpalomono I don't really get this viewpoint (and I've heard it before). I think the female characters existence in the story make the show more interesting. In my opinion it would be weirder if the show just glossed over women joining the astronaut program and pretended like it wouldn't be a big deal. I don't think they overdid it, they told the story and showcased how such a situation might have played out in the 60s-70s and then moved on fairly quickly to focus on other stories with all the astronauts doing their jobs.
I hope this isn't the last time we'll see Mayhem, she's a refreshing new character. I'm guessing each person sees something different when they're devoured into Tyrone's dimension? Connors wasn't there where Mayhem was. Or does Tyrone's dimension have multiple separate dimensions attached to it for each separate person that gets devoured, like cells?
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@legendaryfang56 In the comics, everybody who goes in sees their own personal nightmare. At least if they're evil. The cloak is actually connected to the Darkforce (which we've seen previously in the MCU in Agent Carter)
So, the best episode of the Show Ahsoka is the one where Ahsoka doesn't show up.
It is not great or anything, but at least stuff happens.
They did strech out a little bit over the acceptable trhrshhold the suspense before the big reveals, but at least it was shorter than the pauses between lines of dialogue in the previous episodes.
Baylon and Shin are the only good characters so far, and we actualy got to see them develop on screen, instead of acting like mustache twirling villains.
Thrawn shows some potential, I guess... Not much to see yet.
The actor who plays Ezra has a voice very close to the original (unlike Sabine and Ahsoka). Is he the original voice actor?Oh, the best part (besides no Ahsoka). NOBODY CROSSED THEIR ARMS!
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@slimyboi You know what I mean, she was only in the cold open, before the titie cards. She had a chat with the droid about Sabine's decision to go with the bad guys and something about the stories he told her in the temple, so he could drop the line "a long time ago, in a galaxy far, far away". She was the pre-title exposition character. doing exposition about stuff we already know and the title episode, and a small foreshadow about the witches being part of child stories in the Jedi Temple. Like the calamari prince and her romeo and juliet love afair in a mandalorian episode. I took the liberty to being a little hyperbolical instead of writing "the best Ahsoka episode is the one where she in in 5% of it".
[9.4/10] When I watched the first batch of episodes from Watchmen, I thought it tossed a number of interesting balls into the air, but I questioned how and if it would be able to catch them all. Showrunner Damon Lindelof, of Lost fame, is not necessarily known for delivering satisfying endings. And while his series asked all sorts of intriguing questions about the institutions of power and those marginalized by them, and while it threw in one eyebrow raising plot point after another, to answer all of the former, and tie together all the latter, seemed like too much for even the smartest (person) in the world to do in a satisfying fashion.
And yet “See How They Fly” somehow does it.
The finale of Watchmen’s first (and, blue god willing, only) season tells us what Lady Trieu’s angle is, how it fits with the Seventh Kavalry’s plot, how Ozymandias factors into it, what Dr. Manhattan’s role is, how it intersects with Will Reeves’s plans, and what Angela Abar’s place in these grand events is. It tells a story of so many people seeking power, seeking vindication, seeking adoration, and then puts it in the hands of the one person who wasn’t looking for it.
It also allows us to understand not only the plot mechanics that led to the second momentous rain of squid of sky, but the motivations of everyone who reached that point. The racist, status quo-preserving rationale behind the Seventh Kavalry’s scheme has been clear for some time now. But “See How They Fly” accounts for the consequences of Cal Abar’s moment of reflex on the White Night. It accounts for the collection of watch batteries from the pilot. And it accounts for their failure, the assumption that they’ve thought it all out and have all the right answers. The truth, however, someone much smarter is pulling the strings, and even left to their own literal devices, the forces of Cyclops would have turned themselves to mush anyway.
That someone is Lady Trieu, and in Watchmen’s last character-defining, plot twist-revealing vignette, it sets her up as Adrian Veidt’s inheritor. She is, through one enterprising refugee’s machinations, his daughter, one who has matched, if not exceeded, his genius. She is playing the Seventh Kavalry, letting them do the dirty work of capturing Dr. Manhattan so that she can dispose of them and localize him in one fell swoop. It is another instance of a Veidt being one step ahead.
But we understand, for the first time, why Lady Trieu is doing this. She claims that it’s to better the world, to use the power that Dr. Manhattan sits on to eliminate the world’s nuclear arsenals, to clean the air, to fix all that ails us. But she does not seek that goal for pure altruism and, like her father, she’s shown a disturbing propensity to use whatever means are necessary if her goals are just. Instead, the episode suggests that all of this is an effort to impress her parents, to gain their approval, to show herself worthy of the gifts that she’s been given and to prove that she can build herself up to the highest heights of human achievement on her own, as Ozymandias challenged her to do.
But it’s Ozymandias who thwarts her. He declares that she cannot be trusted because she suffers from the same sins he does: vanity and self-aggrandizement. He tells his compatriots that she has to be stopped because she’ll soon demand that everyone bow down before her, because he knows it to be true of itself. And in one of the many little bits of irony and connection in the episode and the season, he uses the frozen corpses of the veritable offspring of his giant squid to crush his daughter, must as he used the frozen corpses of Dr. Manhattan’s children to ask her for help.
There’s two ways to read that scene. The first is as a rare moment of self-recognition in Veidt, knowing what he would do with that power and why, given the hell he’s been through, where it would lead, to the point that he resolves to stop it. The second is another instance of, true to the show’s themes, a white male going to great lengths to preserve the status quo and prevent a person of color from overtaking his position and assuming his legacy.
Either way, the triumph if brief for Veidt. Whether his pronouncements are accurate for Lady Trieu, they’re true for himself. Ozymandias seeks veneration and adoration. He got to save the world, but grumbled miserably for decades because he never got to take credit for it, never got his due from the people he put in power or the lives he preserved. On Europa, he had the thing he always wanted -- endless appreciation and devotion from all those around him -- but it was given reflexively, without due, and thus became hollow and even maddening. And in the end, he saves the world once more, and gets to take credit for it, both for now and for 1985, but it’s also his downfall.
That’s the other cruel irony and the button put on the stories of Laurie Blake and Looking Glass. After everything, the two of them decide to arrest Veidt for the lives lost amid his gambit from the original comic. For Wade Tillman, it’s enacting justice against the man who wrecked so much of his life, who left him so scared for so long, in the name of a well-intentioned lie, but a bloody lie nonetheless. For the former Ms. Juspeczyk, it’s the chance for her to have agency in this story, to take charge rather than be more of a bystander to larger forces as she was in 1985, given time to reflect on what happened and her place in it. And for Ozymandias himself, it’s the price he pays for being known, the music he must face for returning home, the cost he finally has to account for instead of his gilded cage of anonymity.
But the thing that he and his daughter share is that they’re not able to thwart a god. Even though Dr. Manhattan is trapped in his lithium prison, even though he’s mentally disoriented from whatever Keene Jr. and Trieu have done to him, he still has the wherewithal to transport away the people whom he knows can stop this, and to spend his last moments with the woman he loves. If Ozymandias was sent to his own private hell, Jon Osterman spends his final seconds on this Earth in his own private Heaven, experiencing all of his best moments with Angela at once.
As much as Watchmen is a story about racism and its institutional infestation, as much as it’s about masks and what happens when people put them on, it’s also a story about love. It is, as the episode name-drops, another thermodynamic miracle in the making, of two people coming together despite lightyears of distance between them, and the way it changes the world.
That change takes a little dealmaking though. William Reeves gives Dr. Manhattan up to Lady Trieu in exchange for her rooting out and eliminating Cyclops. But Cal very probably knew what the result would be, even suggested the trade to Hooded Justice. Reeves’s plan was to stop the organization he’d been fighting for nearly a century. Dr. Manhattan had even bigger plans, ones that may have widened even Will Reeves’s aspirations here.
As the season’s penultimate episode portended, Dr. Manhattan left something behind for his wife, a piece of himself that would give her godlike powers. In the final scene of the episode, she consumes it, and while the episode ends too tantalizingly soon before she can walk on water, the implication is clear.
So many people in this episode reached toward Dr. Manhattan this season, so many aiming to replicate him or supplant him or best him. But the person who receives his abilities is not someone who sought it out. It’s someone who it was given to, who it was earned by, through her capacity to love, for her capacity to try to save what might be unsaveable, for her willingness to fight and appreciate what’s lovely and wonderful even if it’s only fleeting.
But it’s also someone who has awoken to the injustices that lie under her nose. When Will Reeves offers some comfort and commiseration to his granddaughter, it comes with one admonition -- that for all Dr. Manhattan did, he could have done more. THey’re the words of a man who seems to know what’s coming. His project, and the project of Lindelof’s Watchmen, was to show an awakening in Angela, an internal transition from someone who believed, like Reeves himself once did, that the systems could be fixed from the inside, that they could be welcoming to and changed by people who looked like them, but that the color of law was never going to supersede the color of their skin in the people who tried to hold onto the power that badge conferred. Hers is a tale of epiphany, of understanding, of an insidiousness in the institutions she risked her life to protect that was, unbeknownst to her, ready to chew her up and spit her out like it had done so many others.
So she takes the power that would never be willingly forsaken by those who possess it. It is, in its own subtle way, a radical message. It’s radical because it ties in with a moral that David Simon, who chronicled faltering institutions himself on The Wire once put it, that when those institutions have fully failed you, the only thing left to do is pick up a brick. Will Reeves couldn’t find justice from the police department or the sterling heroes that were supposed to help him, so he found it himself, often in bloody terms. Watchmen firmly suggests that these institutions retain the same debilitating stink of racism in 2019 that they did during the time of Black Wall Street, and ends with Angela Abar picking up one hell of a brick.
The way Angela’s son looks at her own mask, much as William Reeves’s son did his, suggests (as Watchmen inevitably must) that this cycle isn’t over, that the age of heroes and vigilantes and those who’ve suffered trauma finding a way to exercise it in the name of justice isn’t over just yet. Topher has suffered his fair share of trauma today, and long before. When Ozymandias kills The Game Warden, his erstwhile servant asks him why he made him wear a mask, and Veidt responds that masks make men cruel. Only time will tell whether Angela’s son will don the same type of hood his mother and great grandfather did, if he will mete out justice with the same sort of cruelty, and on whom.
But the other way that Watchmen is radical come in whose hands it puts the responsibility and the ability to obtain that justice. While superhero stories can come in many stripes, most often they are a power fantasy. A strapping hero, often one the reader or viewer can see themselves in, fights for truth and justice and the American way with a force and a level of excitement that the muddy grays and grim realities of the real world can’t match. It is, if not as radical as the show’s political message, then certainly bold, for the show to declare in Angela’s raw egg cocktail and first, tenuous step, that it’s time for a change in who gets to assume those power fantasies.
It is remarkable, then, how well this show puts everyone in place and builds, thematically and narratively, to that moment. In the end, Watchmen finds a reason to bring everyone of significance to the show’s story and themes into the same location, as though each vignette and sequence we witnessed led to this moment. It reaches its climax at the same place it started, in what was once Black Wall Street and the theater where young Will Reeves saw a black hero in a mask and borrowed his name and mission. For a show that, from its first frame, asked probing questions about who holds power, how that intersects with the color of law, and who gets to be inspired by the power fantasies of masked adventures, it answers all three with a woman of color about to walk on water.
Each setup had a payoff and each payoff had a setup. Almost every seeming loose end is weaved together by the final frame. There are still queries that can be raised, objections that could be lodged, but everything that the series set up it knocked down. It seems too easy to say -- for a show that trod into such messy territory, that tugged on so many knotted threads of both the real world and its fictional one -- but there’s only one word to describe Watchmen and its ending. Clockwork.
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@andrewbloom "Showrunner Damon Lindelof, of Lost fame, is not necessarily known for delivering satisfying endings" give The Leftovers a try and as with this series a couple of episodes to test waters;)
Very high chance that the ending won't dissapoint you.
