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    Soundtrack

    Watchmen: Volume 2 (Music from the HBO Series)

    Different stars

    • 1 Trent Reznor & Atticus RossTRUST IN THE LAW 2:03
    • 2 Trent Reznor & Atticus RossHE WAS NEVER HERE 3:55
    • 3 Trent Reznor & Atticus RossKICKED IN THE BALLS AGAIN 3:25
    • 4 Trent Reznor & Atticus RossA TRAVELLER FROM AN ANTIQUE LAND 4:23
    • 5 Trent Reznor & Atticus RossLOSING FACE 1:23
    • 6 Trent Reznor & Atticus RossSQUID PRO QUO 3:28
    • 7 Trent Reznor & Atticus RossYOUR NAME IS ANGELA ABAR 0:57
    • 8 Trent Reznor & Atticus RossNOSTALGIA BLUES 3:29
    • 9 Trent Reznor & Atticus RossPAY NO ATTENTION TO THE CACTUS 4:09
    • 10 Trent Reznor & Atticus RossSEVEN YEARS OF BAD LUCK 2:19
    • 11 Trent Reznor & Atticus RossTHE DARK KNUT RETURNS 2:48
    • 12 Trent Reznor & Atticus RossGHRAIB ME A TERRORIST 2:49
    • 13 Trent Reznor & Atticus RossDREAMLAND JAZZ 3:18
    Completed

    7

    " Nothing Ever Ends…"
    Country
    Spoken Language
    Runtime 52 min – 1 hr 7 min
    Premiere: World October 20, 2019
    Premiere: USA October 20, 2019
    Channel HBO (21:00, United States)
    Digital: World December 16, 2019
    Parental Advisory
    • Frightening & Intense Scenes

      plenty

    • Profanity

      plenty

    • Violence & Gore

      plenty

    • Alcohol, Drugs & Smoking

      average

    • Sex & Nudity

      average

    Production Companies

    Description

    Set in an alternate history where masked vigilantes are treated as outlaws, Watchmen embraces the nostalgia of the original groundbreaking graphic novel of the same name, while attempting to break new ground of its own.
    Season 1
    e1 — Episode 1  

    It’s Summer and We’re Running Out of Ice

    October 20, 2019 6.9
    e2 — Episode 2  

    Martial Feats of Comanche Horsemanship

    October 27, 2019 6.8
    e3 — Episode 3  

    She Was Killed by Space Junk

    November 3, 2019 7.5
    e4 — Episode 4  

    If You Don’t Like My Story, Write Your Own

    November 10, 2019 7.2
    e5 — Episode 5  

    Little Fear of Lightning

    November 17, 2019 8.1
    e6 — Episode 6  

    This Extraordinary Being

    November 24, 2019 7.6
    e7 — Episode 7  

    An Almost Religious Awe

    December 1, 2019 7.7
    e8 — Episode 8  

    A God Walks into Abar

    December 8, 2019 7.9
    e9 — Episode 9  

    See How They Fly

    December 15, 2019 6.9

    Сast and Crew

    The History of the Show

      • U.S. premiere was October 20, 2019 on HBO, with the finale on December 15, 2019; it aired as a nine-episode limited series.
      • The premiere drew about 1.5 million viewers across HBO platforms on night one, the finale reached roughly 1.6 million same-day across platforms, and the season averaged around 7 million viewers per episode multiplatform, making it one of HBO’s most-watched new series of 2019.
      • Internationally it rolled out via HBO partners (e.g., Sky Atlantic in the UK) with near-simulcast scheduling and strong streaming uptake.
      • Critical reception was highly positive, with frequent praise for its engagement with U.S. racial history, genre reinvention, and performances by Regina King, Yahya Abdul‑Mateen II, and Jeremy Irons.
      • Audience response was polarized: some viewers objected to the political framing, leading to waves of review‑bombing on user‑rating sites even as professional reviews remained strong.
      • At the 2020 Primetime Emmys it led the field with 26 nominations and 11 wins, including Outstanding Limited Series; individual honors included Lead Actress (Regina King), Supporting Actor (Yahya Abdul‑Mateen II), and Writing for “This Extraordinary Being” (Damon Lindelof and Cord Jefferson).
      • It won a 2020 Peabody Award and appeared on numerous critics’ year‑end best‑of lists.
      • The broadcast put the 1921 Tulsa Race Massacre into mainstream conversation, coinciding with expanded media coverage and educational initiatives; in 2020, Oklahoma officials announced the event would be included in state curricula.
      • In June 2020, HBO made the series free to watch for the Juneteenth weekend, prompting renewed viewership and discussion amid broader debates about racism and policing.
      • After the finale, HBO kept it positioned as a closed, self‑contained limited series and has not commissioned a second season.
      • The show spurred renewed sales and mainstream interest in the graphic novel by Alan Moore and Dave Gibbons.
      • It became a touchstone for how franchise IP can engage with historical trauma and contemporary politics, influencing subsequent TV projects and editorial agendas.

    Watchmen Comic

    Overview

    The comic book series Watchmen is a seminal work in the graphic novel genre, originally published by DC Comics in 1986-1987. It was created by writer Alan Moore and artist Dave Gibbons, with coloring by John Higgins. The series is renowned for its complex narrative, intricate character development, and its deconstruction of the superhero genre.

    Creators

    Plot and Themes

    The story is set in an alternate history where superheroes emerged in the 1940s and 1960s, helping the United States win the Vietnam War. The narrative is set in 1985, against the backdrop of the Cold War, and follows a group of retired superheroes as they investigate the murder of one of their own. The series explores themes of power, morality, and the impact of vigilantism on society.

    Correspondence to the Series

    The 2019 television series Watchmen is a continuation of the original comic's storyline, set in the same universe but occurring decades later. While the series introduces new characters and storylines, it remains deeply rooted in the themes and events of the original comic. The show pays homage to the source material while expanding on its world and exploring contemporary issues.

    FAQ

    Is it a remake, a sequel, or a standalone story?

    Watchmen (2019) is an original story set in the comic’s universe and conceived as a continuation of the original Watchmen events—not a direct remake of the film. It was developed by showrunner Damon Lindelof, and it draws from the graphic novel by Alan Moore and Dave Gibbons.

    Do I need to read the comic or watch the film before the series?

    Not strictly: the show introduces its rules and new leads on its own. But familiarity with the comic significantly enriches the experience, since many plot threads and symbols build on the original events.

    What is the show about in brief, spoiler-free terms?

    It’s a neo-noir sci‑fi crime drama set in an alternate America where masked vigilantism and unresolved historical trauma shape politics, policing, and everyday life.

    Why does the series focus so much on racism and U.S. history?

    The show deliberately connects superhero mythology to real historical wounds and how they echo into the present. It’s not just backdrop—it’s a core theme driving character motives and conflicts.

    Why do the police wear masks?

    In the show’s world, it’s a security measure and political compromise after anti-police violence: masks protect identities, and force/weapons use is more tightly regulated. It also raises a bigger question—how do you hold power accountable when it’s anonymous?

    How many seasons/episodes are there, and is there a continuation?

    There is one season with 9 episodes, and it tells a complete arc. As of now, there isn’t an official second-season continuation.

    Is it a detective story, superhero fiction, or political satire?

    All of the above: it’s often structured like a mystery, styled like superhero fiction, and driven by political/social themes. The tone shifts on purpose—from hard thriller to near-absurdist satire.

    Who is Ozymandias and why does he have a separate storyline?

    Ozymandias is a central figure from the original Watchmen, and his arc in the series explores the long-term fallout of past choices and how the “old world” still shapes the new one. Its tone often contrasts with the main investigation; the role is played by Jeremy Irons.

    Why do some episodes look and feel so different from each other?

    Because the season uses multiple directors and intentionally shifts form to fit each chapter—from a straightforward police thriller to an experimental episode built around memory and perception. Directors include Nicole Kassell, Steph Green, David Semel, and Stephen Williams.

    How closely does the series follow the comic’s canon?

    It respects the major events and internal logic of the world, but expands them in its own direction with new characters and conflicts. Rather than retelling the graphic novel, it treats it as history that already happened.

    Why do some choices feel deliberately provocative?

    Because the series uses genre to argue about power, violence, and cultural myths—often through discomfort, paradox, and subverting familiar icons. That approach is a key part of Damon Lindelof’s style.

    Are there Easter eggs and references to the comic?

    Yes: visual motifs (symbols, framing), names, props, and even the structure of some sequences echo the graphic novel. Many are bonuses for attentive viewers, but they aren’t required to follow the plot.

    Where can I find episode breakdowns and official explanations?

    Look for interviews and production features, as well as post-episode analyses from reputable outlets. Among writers known for analytical pieces on the show is Jeff Jensen.

    Who handled the writing, and how was the writers’ room structured?

    The series was guided and tonally shaped by Damon Lindelof, with scripts written by a team that included Stacey Osei-Kuffour, Cord Jefferson, Nick Cuse, Crystal Henry, and Claire Kiechel.

    What’s distinctive about the visual style and action staging?

    The show blends neo-noir symmetry and comic-book expressiveness with the chilly realism of a police drama. Perception is heavily shaped by directing choices—for example, episodes by Nicole Kassell help set the baseline tone, while other chapters deliberately shift rhythm and perspective.

    Who are Sister Night and Lady Trieu, and why does the plot revolve around them?

    They are central pillars of the new story: one carries a mix of police duty and personal secrets; the other drives sweeping political/technological change. Through them, the show examines power, legacy, and the cost of “heroism.” Key roles are played by Regina King and Yahya Abdul-Mateen II.

    Premise

    The series takes place 34 years after the events of the comic series. In the comic's alternate history of the 20th century, vigilantes, once seen as heroes, were outlawed due to their violent methods. In 1985, Adrian Veidt, formerly known as the vigilante Ozymandias, created a false flag attack on New York City by creating a squid-like alien which resulted in millions within the New York area being killed, coercing nations to work together against a common threat and to avert a nuclear holocaust. Veidt's actions disgusted his former companions, with Rorschach planning to tell the world of Veidt's misdeeds before he was vaporized by Doctor Manhattan, who subsequently left the planet. Unbeknownst to Manhattan, Rorschach had sent his journal to be published beforehand.

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    Critique: 38

    95%
    36 2
    Salon.com October 21, 2019

    It is dark, but it’s also exciting; grim, but also invigorating. The action sequences are stunning, as are the performances.

    New York Times October 18, 2019

    I’m still not sure Lindelof is wholly in control of the subject. But he earns the chance to show that he has a thought-through long game...

    New Yorker December 3, 2019

    In Watchmen, blackness is the root of the story, as well as its underlying purpose: it’s a show about the potential for pop culture to treat...

    TIME Magazine October 21, 2019

    A potent but rarely heavy-handed metaphor for race relations in America and a showcase for one of the greatest actors of her generation, it is...

    Vox October 21, 2019

    Watchmen seems like an attempt to blend the existentially weighty themes of The Leftovers with the poppier tones of Lost. For the most part, it suc...

    Observer October 15, 2019

    Overall, [Damon] Lindelof’s Watchmen embraces the spirit of the original comic with its stylish cynicism while attempting to erect a new...

    Slant Magazine October 18, 2019

    The series argues the ways injustice might persist, and in that sense, its alternate history doesn’t look so alien after all.

    Entertainment Weekly October 15, 2019

    Watchmen doesn’t overdose on nostalgia, like so many franchise extensions in our reboot-soaked decade. It’s dangerous, and invigorating...

    Times (UK) October 22, 2019

    Weird, weird, weird, but definitely not boring.

    Financial Times October 18, 2019

    There’s the persistent sense of narrative freefall you get when almost anything implausible can happen, and usually does, but Regina King anc...

    Newsday October 22, 2019

    This "Watchmen" forces the perspective on viewers that real-world racism is more bizarre, more horrifying, than a TV series could possibly re...

    RogerEbert.com October 16, 2019

    This is breathtaking, ambitious television that only gets richer with each subsequent episode.

    The Guardian October 23, 2019

    This is one of many confident flourishes with which showrunner Damon Lindelof demonstrates his joy in and mastery of his own material and its origins.

    TV Guide October 15, 2019

    The book gives anyone attempting to follow it up a richly realized world on which to build, but it’s the ways in which this new series d...

    The Ringer October 24, 2019

    Watchmen’s aesthetic is neither pointedly unglamorous nor cartoonishly heightened, but somewhere in the dreamlike space between.

    Hollywood Reporter October 15, 2019

    Watchmen is a tour-de-force, no doubt, but there’s a landing that definitely needs to be stuck.

    Washington Post October 17, 2019

    It’s fabulous and flammable and feels exactly right.

    Daily Telegraph October 23, 2019

    Johnson was craggily charismatic. King was brilliantly fiery. The actions scenes thrilled, the rest intrigued and killing off a major character str...

    The Atlantic October 21, 2019

    Sublime and absurd. It’s a symphony in which the loudest note in every bar is proudly out of key. The plane it portrays, an alternative...

    Slate October 18, 2019

    An energetic, unruly show with a very concise and ambitious objective.

    Rolling Stone October 16, 2019

    Not all of it works, but it’s a fascinating – and frequently thrilling – attempt to rebottle some of the same lightning that M...

    The Australian December 17, 2019

    Game of Thrones finally finished, the last episode aptly titled The Long Night and it was a terrible ending, disappointing for fans, causing&n...

    USA Today October 15, 2019

    So much energy as is spent on the sociopolitical elements of the series, but "Watchmen" is at its best when it tries a little less hard to be...

    The Atlantic October 22, 2019

    Lindelof’s show is a marriage of pulpy mythmaking and grim reality, telling a weighty story under the guise of mass-market entertai...

    Sydney Morning Herald November 17, 2019

    It’s easy to be wowed by Watchmen, but that doesn’t necessarily make it wondrous.

    NPR October 24, 2019

    Based on the episodes I’ve seen, it’s too early to tell whether Lindelof can make the show’s enigmas pay off in a satisfying...

    NPR October 23, 2019

    Lindelof’s work will either add up to the coolest, most intricate dramatic series this side of Westworld or the biggest swing-and-a-miss in r...

    Mediaversity Reviews January 6, 2020

    Watchmen encapsulates the weariness of Black America, our wounds healing just enough for the scabs to be torn off again.

    Vulture October 16, 2019

    It’s easy to imagine viewers who aren’t already invested in the very idea of a Watchmen sequel growing impatient with the show&rsq...

    News.com.au October 22, 2019

    This is a big-budget, high-profile production that declares its presence. You can’t ignore it and you wouldn’t want to because it...

    The Daily Beast October 21, 2019

    Watchmen paints a chilling portrait of politically and racially divided 21st-century life, and those on both sides of the aisle will find much...

    Polygon October 21, 2019

    The sucker punch that Watchmen pulls off is an impressive one, immediately establishing the show as one set to be the cherry on top of HBO’s...

    Vanity Fair October 17, 2019

    The show is so ambitious, with its multiple timelines, storytelling structures, and perspectives, that it’s perpetually surprising.

    Globe and Mail October 18, 2019

    Shockingly, this new Watchmen is not only good, not only great, it is absolutely necessary… HBO’s Watchmen is just that insightful, invigorat...

    Slate October 25, 2019

    Sunday night on HBO, I saw something I thought I’d never see on television: the depiction of a dark day in American history that no...

    Variety October 15, 2019

    Lindelof keeps scribbling in the margins, adding in more and more story that may yet pay off but that takes perhaps undue patience in the interim.

    indieWire October 15, 2019

    The series' scope is astonishing given its subject matter, and even more so given its relentless entertainment value.

    CNN.com October 15, 2019

    Presents its own kind of Rorschach test: Occasionally frustrating and meandering, it’s never less than interesting, although that appeal migh...

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    Quotes

    You can’t heal under a mask, Angela. Wounds need air.

    I did it thirty-five minutes ago.

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    friends impressions of the TV show.

    Friends comments and ratings

    Watched

    If the second series seemed a little sluggish and distant from me in its problems, then the third delivered on all fronts. The joke about the girl and the brick, as the meaning of the entire reality of the Guardians, is priceless.

    Translated to English
    Episode 2 — 3 (season 1)

    Won't Watch

    Already tired of all this BLM. And in general, the spectacle is dull – I dropped it after a couple of episodes, which I do infrequently.

    Translated to English

    Watched

    The series was canceled and it was great. Ultra-violence and a joke about a brick did not save us from the strained "agenda". For the States, the story is definitely topical (clashes with the police, "black" themes, aggressive feminism), but I was not hooked. And in vain they did this with Doctor Manhattan.

    Translated to English

    Watched

    Suitable for all Watchmen fans, the main thing to remember is that this is a continuation of the comic book, not the film. The plot is good, there are a lot of Easter eggs and references to the canon, I liked that 90% of the questions that appeared while watching were answered one way or another. I just ask that there be no continuation

    Translated to English

    Watched

    Ay-ay, how the Guardians’ universe has turned black in 10 years, it’s sickening. The connections between the series and the original are left-wing; they cannot be built on a single agenda that is not in the comic. I liked Irons' line. And separately Nelson. That’s all. Suddenly, the black Doctor M is a complete failure, both as an actor and as a character.

    Translated to English

    Watched

    An unusual series, but they dragged it out. As a result, between good series there are 1-2 weak ones, during which he wants to quit. Still, there is an atmosphere, interesting stories and tricks. Although this confrontation between whites and blacks looks somewhat strange. Down with kitchen slavery! Freedom for squids.

    Translated to English

    Watched

    Spoon of honey (visual / soundtrack) in a barrel of tar (cretinism / trends). As good as the movie was, the first season of the series is just as bad.

    Translated to English