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Watchmen Season One Episode 7 Review: “An Almost Religious Awe”

An underwhelming hour of Watchmen ends on a shocking high note.

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Watchmen An Almost Religious Awe

Though I’d be the first to argue Damon Lindelof’s series are graceful, I certainly wouldn’t be able to describe LOST or even The Leftovers as particularly elegant; there are certainly times where his infatuation with puzzle-box logic and deep existential musings clash, turning a middle chapter of any given season into a near-indecipherable mush of plots, themes, and characters.

“An Almost Religious Awe” is not a bad episode of television, not by a long stretch: it’s just unrefined, an expected byproduct of such an ambitious, wandering series built on such a limited structure.

“An Almost Religious Awe” is the signature Hour of Inelegance for Watchmen; though it contains a number of fascinating themes and developments, the broad focus of the series forces this episode, the holy seventh, into a rather awkward position. Not only is there a massive stretch of plot this episode needs to cover (despite being one of the series’ shortest episodes), but it is also tasked with delivering the single biggest stunner of the season: Dr. Manhattan’s been hiding on Earth as a human, in the form of amnesia-ridden Cal Abar.

An Almost Religious Awe Review

The space between where “An Almost Religious Awe” begins and ends is cavernous: after opening with Angela still trapped inside Will’s memories, the third act is a cascade of twists and reveals leading to Dr. Manhattan’s resurrection, mere moments before the Seventh Kavalry’s plan to capture and kill him is kicked into action (in fact, they’re waiting right outside the door when the episode cuts to black). The episode’s meta dialogue about ending “all the silliness” and not fucking around anymore is certainly true; but its messy construction undercuts some of its biggest moments, an underwhelming turn as Watchmen heads into its final stretch of episodes.

The overstuffed nature of the episode also serves as a prescient reminder of just how much ground there is still to cover; Ozymandias is still on trial (in his defense, it has gone on for an entire year), Looking Glass is still missing (though the men who attacked him are dead; given that one is unmasked, I’m willing to bet Wade’s undercover), and Will Reeves is nowhere to be found. It would take one of the elephants Angela’s hooked up to in order to remember all the running plots and side stories of Watchmen‘s first six episodes, a reminder of the Sisyphean task ahead of Lindelof and his team, as they try and push everything to the center of the table in the final two episodes.

“An Almost Religious Awe” is the first time Watchmen feels awkward and lacking in confidence, over-explaining its most mysterious elements, while clumsily trying to build out its emotional arcs around the families of Trieu and Angela. There’s also a lot of expo dumps, be it Lady Trieu’s many reveals (Bian is a clone of her mom! She’s trying to save humanity with her clock! She has all the Manhattan Booth tapes!) or Senator Keene’s play-by-play of the Kavalry’s ultimate plan to transcend the difficulties of “being a white man in modern society” – which, as true as it may be, is a line of dialogue that hit the nail on the head a bit too firmly, similar to the effect of Angela’s Sister Night VHS tape.

Watchmen An Almost Religious Awe

It also features the single most unsatisfying scene of the series: after Angela’s family is killed in a terrorist attack, she is adopted from her punishing orphanage by her grandmother June (Will’s ex-wife)… who promptly dies after they share a single lunch together. There’s an undercurrent of some interesting themes in the scene – having the context of June’s history, using her grandmother as a grounding device to help fix her memories – but the actual text of their (very) brief shared experience is about the most underwhelming thing Watchmen‘s done to this point, a rare example of the series repeating itself, simply for the sake of dramatic repetition.

The undercurrents of Angela’s life are much more sharply drawn outside that scene; we see the neat parallels between her life and Will’s, turning to careers in law enforcement as a way of enacting control on their lives. Formed by definitive traumas in their lives – Will’s Bass Reeves fandom before the Tulsa riots, Angela hearing the murder of a terrorist conspirator in an alleyway – they turned to becoming police officers to try and make the world right; but a world that didn’t accept them as valid, made those righteous journeys a lot harder to do on the supposed right side of the law. Those moments, while not necessarily adding to the construction of Angela as a character, are effective in how they reinforce the idea of inter-generational connections between family members; how similar genes can lead to similar experiences, or even simply just detailing the inherited trauma enforced on millions of families like the Reeves’ by the systemic racism against any minority in America’s history.

Watchmen An Almost Religious Awe

But most of Angela’s material, especially with June, just falls a bit flat. There really isn’t much that’s able to transcend the cumbersome feeling of “An Almost Religious Awe”; upon rewatch, one can almost feel the show holding its breath excitedly until the final moments, draping the entire episode in shades of blue, and rushing through a bunch of subplots in a sprint to get to the Big Reveal. To Watchmen‘s credit, it is a doozy of a reveal, one that comes with the shocking delivery of Angela beating Cal’s head in with a baseball bat, only to retrieve a very familiar piece of equipment from inside his shattered skull.

The reveal of Cal as Dr. Manhattan is a fascinating moment, one that calcifies some of the deeper explorations of the series more effective than much of the hour surrounding it: to think the world’s most powerful being has spent the last decade-plus, hiding as a black man in America is certainly something to chew on, especially considering the origins of Dr. Manhattan (as Jonathan Osterman, his family escaped Nazi persecution) in the original Watchmen novel. And it works as an “out of left field” moment, a well-crafted reveal grounded in the facts of past episodes – like his wardrobe, view on death, or Laurie’s vocal attraction to him – blossoming character and narrative in one fell swoop.

However, there’s no denying how quickly Watchmen moves from Point A to Doctor M; an episode that is ostensibly about Angela’s identity, is co-opted by the twists and turns of the third act, none of which is particularly enriching. It is a marker for conclusions to follow, a tack in the middle of the storyboard that undeniably serves an important purpose pulling everything together, but doesn’t necessarily find a natural way to fit itself into the overall narrative in a satisfying way.

Watchmen An Almost Religious Awe

Does this spell trouble for the final two episodes of the series? Though this episode is certainly the closest Watchmen‘s gotten to feeling like a late-era episode of LOST, rather than the unofficial fourth season of The Leftovers – it is Lindelof feeling the pressure to give some semblance of coherency, before taking big creative gambles in the impending climax. His self-inflicted atonement for the vitriol directed at the many, many, many LOST mysteries over the years is readily apparent in his work since that show, none more than in between the titles and closing credits of “An Almost Religious Awe.”

An episode like this was bound to happen at some point in Watchmen; it is part of the Lindelof experience to have at least one episode a season feel like an absolute cluster fuck, where the thematic and narrative pacing becomes noticeably dissonant. After all, “An Almost Religious Awe” is not a bad episode of television, not by a long stretch: it’s just unrefined, an expected byproduct of such an ambitious, wandering series built on such a limited structure.

A TV critic since the pre-Peak TV days of 2011, Randy is a critic and editor formerly of Sound on Sight, Processed Media, TVOvermind, Pop Optiq, and many, many others.

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Watchmen Season One Episode 8 Review: “A God Walks into Abar”

Dr. Manhattan steps into frame in a breathtaking episode.

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Watchmen A God Walks Into Abar

The elevator pitch for Watchmen‘s eighth episode is relatively simple: what if Dr. Manhattan is to Watchmen, what Desmond was to LOST? A person unstuck in time, whose ability to move back and forth across the key moments of their lives, opening their minds to a wealth of experiences, perspectives – and of course, deep regrets for the moments and things that cannot be changed. LOST‘s 77th episode, “The Constant,” uses time as a thematic anchor for a love story, the absolute apex of science-fiction romance – a man who is only able to hold onto his identity by remembering the woman he loves.

“A God Walks into Abar,” and the love story that plays out within it, is among the most heartfelt entries of Lindelof’s career, able to carefully turn a seemingly indecipherable character, into something beautifully textured, human, and meaningful.

“A God Walks into Abar,” co-written by Damon Lindelof (who wrote “The Constant” with Carlton Cuse) and Jeff Jansen (a writer who once wrote LOST recaps for Entertainment Weekly), is pretty much a direct successor to “The Constant”; but though it is explicitly familiar in its structure, characters, and thematic explorations, is still a wildly successful, abundantly rewarding entry all to itself. Where “The Constant” served as an important fulcrum for the emotional journey of a mysterious character, “A God Walks into Abar” uses Dr. Manhattan’s gravity to pull in every loose thread of the series, while also telling a touching, tragic love story: it is a rather impressive feat, firmly establishing Watchmen‘s first (and only?) season in the pantheon of modern adaptations (and a gentle reminder of why Watchmen is so much fucking better than The Boys, I might add).

Watchmen A God Walks Into A Bar

Perhaps the most impressive thing “A God Walks into Abar” accomplishes is understanding Dr. Manhattan as a character, and how to effectively convey the paradox of his continued existence, in ways even the comic struggled to contend with. He is a man constantly living and reliving his past, present, and future, all at the same time, consistently able to needle the thread of his existence, in a way that allowed it to make sense. Or so he thought: the comic ends with him agreeing to the greatest conspiracy in human history, disconnecting from humanity and looking to the stars to satisfy the existential bounds of his mind (the meme of his disinterest in humanity is now iconic, after all).

Watchmen re-frames that idea ever so slightly, in a fascinating way: Dr. Manhattan did forget about his humanity… that is, until he fell in love with Angela, moments before he was sucked into a Kavalry-manned teleporter, which occurs exactly 10 years after he meets her. ” A God Walks Into Abar” opens with Dr. Manhattan putting on a mask (during the holiday celebrating his rampage to end the Vietnam War) and meeting Angela at a bar (Angela Abar… A-bar… Lindelof strikes again). It then proceeds to bounce around time, to capture life as Dr. Manhattan experiences it; an ever-evolving set of vignettes, an expanding world of knowledge, one he is not able to create and shape himself.

Watchmen A God Walks Into A Bar

The moment ” A God Walks into Abar” builds to is referenced in the first few minutes; after his strange introduction piques Angela’s curiosity, Dr. Manhattan notes that he is in love with her. We see that moment occur 50+ minutes later, as Angela turns into a one-woman assault squad, hell-bent on taking out every last Kavalry member outside their home. Infuriating as it may be to understand, he can see the beginning and the end of their short, beautiful life together at the same time, because he’s living it all at the same: Watchmen captures that idea poignantly in its unorthodox approach, smartly tethering each strange sequence together with a singular image, or color, to bring us from one moment to the next.

As we move through time, “A God Walks into Abar” casually begins to fill in the big holes of narrative created in last week’s slightly frustrating entry; we finally learn how Ozymandias ended up on Europa, and the history of the people and places we’ve seen on that world for eight episodes. We also learn how Will became involved in the process, which is, ironically, the moment it all falls apart for them: the moment Angela asks Dr. Manhattan to inquire about Judd’s identity (while Dr. Manhattan talks to him in 2009), she inevitably kicks the first domino down the path of Judd’s death, and the Kavalry’s impending attempt to turn themselves into racist deities.

Watchmen A God Walks Into A Bar

How “A God Walks into Abar” frames this is its true genius: Dr. Manhattan’s existence is the conundrum of the chicken and the egg. There was a moment in time where Jon existed, and Dr. Manhattan didn’t; but there also isn’t, since Dr. Manhattan’s creation allowed him to experience all of time in a cumulative fashion, rather than linear. Finally, the many, many images of eggs and yolks finally come together: as nature’s great paradox, a man literally capable of creating entire worlds and paths of evolution, finding his way back to the only immeasurable quantity in the universe, love.

“A God Walks into Abar” makes an important distinction between love and worship: love is able to be critical, to understand and accept flaws, to show empathy. Worship, or what Dr. Manhattan experiences when creating his own world (and people) on Europa, is disillusioning: there’s no older religious trope than the unsatisfied god who turned to humanity to find purpose, and that’s “A God Walks into Abar” to an absolute T. And it works: the love story that plays out is among the most heartfelt entries of Lindelof’s career, able to carefully turn a seemingly indecipherable character, into something beautifully textured, human, and meaningful.

Watchmen A God Walks Into A Bar

If there’s any noticeable flaw to “A God Walks into Abar,” it is strangely the episode’s construction as a romantic entry; it kind of sidesteps integrating Dr. Manhattan’s chosen identity to live as a black man in modern America. There are hints of it at various parts – the scenes of his childhood, in particular – but “A God Walks into Abar” strangely doesn’t contend, at least in this episode, with Angela’s decision to show Dr. Manhattan the original Cal’s body. Why did she just show him three white bodies first? What drew Dr. Manhattan to OG Cal’s appearance? For a series so deftly integrating explorations of race and identity into the Watchmen mythos, the lack of reflection in this episode feels like a bit of a missed opportunity.

But that is a small complaint in what will be remembered as a signature episode of the series; and for good reason, because it is a phenomenal, breathtaking hour of television. “A God Walks into Abar” is also another bold reinterpretation of Watchmen itself, replacing the cold sensibilities of the comic’s anarchistic roots with a warm beating heart; as cheesy as that sounds, it is everything to making the high wire act of Watchmen the series work on a fundamental level. After all, love is the one universal element ensuring humanity’s continued existence; as Dr. Manhattan finally understands, even if the pursuit is an impossible one for us as a species, it at least makes the inevitable collapse of our world something worth fighting against.

Other thoughts/observations:

“By definition, doesn’t every relationship end in tragedy?” Fuck. Me. Up. Watchmen.

The Philips/Crookshanks origin story ends up being a rather touching detail: they are modeled after two lovers young Jon saw during his brief stay in England (the mansion the event happened in ends up being Ozymandias’ home).

Very interesting note that Ozymandias’ Plan A to defeat Dr. Manhattan was not to kill him, but to condemn him to being a mortal with amnesia.

Dr. Manhattan mentions his theory for being able to transfer his powers; would not be surprised to see that come up in next week’s episode.

Related to the previous note: Dr. Manhattan tells Angela he wanted her to see him outside by the pool. Does that mean we’ll see Will walk on water next week?

Lots of props given to Regina King throughout the series for her stunning performance – if Yahya Abdul-Mateen II is not nominated for a shitload of awards for his work in this episode, however, we riot.

A post-credits sequence finally reveals the use of Phillip’s infamous horseshoe – though it remains to be seen where this story is all heading, as Europa’s small world of clones desperately tries to keep another god from leaving them.

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‘Bojack Horseman’s Xmas Special Is the Height of Schmaltzy Satire

If you were lucky enough to grow up watching bad sitcoms with awful specials, then Bojack Horseman’s Christmas special is just for you.

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Bojack Horseman

Join us as we spend the next 25 days writing about some of our favourite Holiday TV specials! Today we look back at Bojack Horseman‘s “Sabrina’s Christmas Wish”.


When it comes to sitcoms, the grand tradition of the holiday special is a long time staple of the genre. The schmaltzy corniness of the 80s and 90s made these specials all the more egregious, and it is this tradition that Bojack Horseman echoes back to with its brilliant Christmas special.

Ostensibly just a full episode of Horsin’ Around (the show that made Bojack famous), Bojack Horseman‘s Christmas special only uses the present day as a framing device before diving into the stupid fun of a very special episode of Horsin’ Around.

The central plot of the episode focuses on Bojack’s youngest adopted child, Sabrina, wishing for her parents to come back to life after Bojack assures her that Santa can give her anything she wants for Christmas. Of course, in typical sitcom fashion, rather than simply explaining to Sabrina that Santa can’t bring people back from the dead, Bojack instead opts to try and trick her into being naughty so Santa will have an excuse not to grant her wish.

Bojack Horseman

The absolute apex of this silliness comes when Bojack tries to get Sabrina to give in and eat some freshly baked chocolate chip cookies. “I’ve heard of lookie-lookie don’t eat the cookie but this is ridiculous!” The use of lines like these in sitcoms is a classic cut to simpler and stupider times, where shows could really get away with lines as ham-fistedly ridiculous as these and actually call them jokes.

Ultimately this is the greatest strength of the Bojack Horseman Christmas special: calling back to the tropes of 80s and 90s sitcoms before satirizing and roasting them into oblivion.

All of the classics are here. From the annoying neighbor character, who is legitimately named Goober, to the absurd onslaught of character catchphrases that permeate the episode. The best of the latter comes from Ethan, the nerdy middle child, who espouses the line “Yowza-yowza-bo-bowsa!” to a few sparse claps and a cough from the unamused studio audience. That every character needed a catchphrase in these types of sitcoms is a given but to have one so bad that even the studio audience can’t be bothered to care is a beautiful bit of satire.

Bojack Horseman

Speaking of the studio audience, Bojack Horseman doesn’t stop using them for fodder there. Thanks to one very stupid audience member, some of the best moments of the episode come from reactions to classic sitcom tropes. For instance, when Bojack flirts with his secretary, while most of the audience opts for the classic whoops and cheers of yore, the idiot just yells “Kiss her!”. He also points out catchphrases (“She said the line!”) and lets out a confused “What!?!?” at the message of the episode.

If you were lucky (or unlucky) enough to grow up watching bad sitcoms with even worse Christmas specials every single year, then Bojack Horseman‘s Christmas special is just for you. Hearkening back to the nostalgia of the time before ripping it to shreds with endless glee, Bojack Horseman’s Christmas special isn’t just one of the funniest episodes of the show, it’s also one of its best.

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A Doctor Who Christmas: Revisiting “Voyage of the Damned”

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Join us as we spend the next 25 days writing about some of our favourite Holiday TV specials! Today, we look back at the Doctor Who Christmas special, “Voyage of the Damned”.

What’s it About?

First broadcast in December 2007, “Voyage Of The Damned” runs 72 minutes long and is the third Christmas special since the show’s revival in 2005. The Doctor finds his TARDIS colliding with a luxury space cruiser (based on the RMS Titanic) during a Christmas party. The ship’s captain, Hardaker (Geoffrey Palmer), sabotages the cruise liner by purposely lowering the ship’s shield, resulting in severe damage after colliding with several asteroids. It’s up to the Doctor (David Tennant), with the help of a waitress named Astrid Peth (Kylie Minogue), to fight off robot-like creatures in the form of golden angels and save the day.

voyage-of-the-damned-17

Review

A festival of ideas, bursting with wild imagination, ambitious set pieces, strange characters, curious visual effects, and one charming Doctor who had this critic glued to the screen midway through, when he turned around to deliver this rousing monologue:

I’m the Doctor. I’m a Time Lord. I’m from the planet Gallifrey in the Constellation of Kasterborous. I’m 903 years old and I’m the man who is gonna save your lives and all 6 billion people on the planet below. You got a problem with that?

This time around, the mammoth cruise ship struck fire (not, ice) and the passengers are a sordid bunch including robotic golden angels armed with killer boomerang-like-halos, and a dwarf named Bannakaffalatta – a cyborg Zocci who strangely resembles Darth Maul. We learn that due to an accident, Bannakaffalatta had undergone conversion into a cyborg, for which he felt shame because apparently where he comes from, cyborgs are discriminated against. “Voyage of the Damned” features a batch of religious imagery (including a messianic portrayal of the Doctor himself being carried away into space by two of the angels), and the blank and trite performance by the beautiful pop sensation Kylie Minogue, (whose role was specifically written for her).

Voyage of the Damned

For a Christmas special, we get a number of casualties along the way, including Bannakaffalatta’s self-sacrifice and Astrid’s fall into the fires of hell. One could accurately describe this episode as The Poseidon Adventure in space, a nightmarish schematic rhapsody of virtuous discomfort. “Voyage” doesn’t end on a happy note. Sabotage and corporate greed destroy our ragtag bunch of passengers, and those who are lucky enough to survive do come out with lasting scars. Not much Christmas cheer here, but the script is sprinkled with clever comedic moments from time to time, including a surprising gag involving the royal family.

Astrid’s final appearance comes in the form of “an echo with the ghost of consciousness”; her stardust-hologram-like image fades after a final kiss. Perhaps a tad bit corny, but the sequence is enough to bring a tear to the eyes of die-hard Whovians. “Voyage” is ridiculous, but also oddly fun in the sheer overkill of pulp and fantasy imagery. Technically it impresses, loaded with eye-catching-hi-tech chase scenes and more importantly, characters and a plot (even if incoherent) to support them.

doctorwhovoyageofthedammbed

Is this thrilling no holds barred sci-fi/disaster mash-up brilliant or idiotic? Perhaps a bit of both, but “Voyage of the Damned” satisfies because of its strong emotional core and unnerving dark themes couched in stunning visuals. This visually arresting, occasionally funny ride is neatly wrapped in a comfortable Yuletide package.

– Ricky D

How Christmassy is it?

Despite the high death toll and the titanic setting, “Voyage” strangely delivers a Christmas vibe, if in scenes few and far between. I would say 50/50.

You May Like It If…

Obviously, if you like Doctor Who, disaster films, and science fiction.

Voyage of the Damned
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