And so, across the eight episodes leading up to this finale, Watchmen took a sledgehammer to this foundation. It corrected its fictional history the way we have begun to correct our real one, re-centering the main thrust of its stories on the people of color previously ignored. Hooded Justice, the first superhero, is not the white man historians assumed he was, but a black hero born from the trauma of the Tulsa race riot and refused justice at every turn by the racist country he tried to serve, first in war, and then with a badge. Doctor Manhattan, the godlike superhuman, is reinvented under the guise of Cal Abar, a black man living in Oklahoma. The villain of the show is a folksy white senator, friendly and seemingly well-intentioned, secretly leading a cabal of racists who want to help him steal the powers of a god, simply because he feels entitled to take them.

The Watchmen comics are celebrated because they challenged popular notions about superheroes and comics, changing our perceptions of what they could be. Over thirty years later, HBO’s Watchmen is doing the same thing, by upending the foundation of Watchmen itself. If it never gets a second season, that’d be enough — even if the finale doesn’t quite stick the landing

(http://www.autoadmit.com/thread.php?thread_id=4401618&forum_id=2#39267956)