Watchmen showrunner Damon Lindelof says when he first read the 12 issues of “Watchmen,” he felt like he had been “dropped on my head into the middle of this world and there were all sorts of things that I felt like I was supposed to know but didn’t know”
“As a white person, I can’t relate to the experience of being forced to come over to this country against my will,” Lindelof tellsLindelof is part Ashkenazi Jewish, on his mother’s side, with his own ancestors emigrating from Eastern Europe. Millions died during that journey, but he notes the ones who didn’t “resulted in me.” With “,” he wanted to merge the idea of someone needing to learn about their origins with the superhero genre — a genre he notes is already full of traumatic backstories.
Angela’s arc will be more than just keeping her family safe and dealing with pushback from the fact that she and her Black husband have white children in a racially-charged world. She will also be on a journey to discover some of her own family history, which has roots in the 1921 Tulsa race massacre.
“I can read all of the Ta-Nehisi Coates in the world, but I don’t know what it’s like to move through the world as a person of color, and so I rely on the opinions of people of color to make this story as authentic as possible,” Lindelof says of breaking such a story in his writers’ room. “We had to accept that it would be triggering in some instances, but we wanted to explore it nonetheless. The point was not to provoke, but we have to acknowledge that we are dealing with provocative material.
In Lindelof’s “Watchmen,” Redford was elected in 1992 and is responsible for reparations for those descents of victims of the Tulsa massacre. Additionally, Vietnam is a state, squid storms are annoying — but not disastrous — acts of weather, superheroes and vigilantes are outlaws, the police force is allowed to wear masks but not unlock their weapons without special permissions, and cell phones and Wifi do not exist.
The character of Angela was also created as an original character for a similar reason: She is the audience’s proxy. “This is her story, so if she doesn’t care about [something that happened in the graphic novel], we’re not supposed to,” Lindelof says. Similarly, “if she’s riding in a car in the fourth episode with Jean Smart’s character, who’s a legacy character, she’s asking the questions that we want the audience to be asking.
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