Episode 2 of HBO’s Watchmen, aka “Martial Feats of Comanche Horsemanship” dives deep into its mysteries, and starts to explain, even if only in bits and pieces, the cliffhanger from its premiere episode. Previously, the series reintroduced its audience to the world of Watchmen in modern-day, 34 years after the original story. Adrian Veidt (Jeremy Irons), the mastermind behind the faux alien attack that was meant to unite the world in peace against a common threat, is living in a mansion, alone, minus a handful of servants. Doctor Manhattan, the godlike superhero who lost touch with his humanity, is living on Mars. The legacy of Rorschach lives on in a rightwing, racist, terrorist group called the Seventh Kalvary (notice the K), that attacks police officers. Members of law enforcement are forced to wear masks to protect their identities. The world, simultaneously alien and familiar to our own, is in a rough place. Regina King’s Sister Night, a supposedly retired police officer, is called into not-so-vigilante action against the Kalvary, and the end result is the death of her friend and mentor, police chief Crawford, played by Don Johnson. As she arrives to find Crawford hanging from a tree, she also finds an old man (Louis Gossett Jr.) sitting in a wheelchair under him. Now, Sister Night must piece together the mystery of who this man is. As well as if he had anything to do with the murder of her friend and why it happened.

As stated above, the focus of this episode is Sister Night, and her investigation into Chief Crawford, and the mystery man in the wheelchair. This all plays for maximum tension as Lindelof, showrunner, and co-writer of the episode (along with Nick Cuse) dole out several big revelations along the way, one considerably more illuminating than the other. If there’s one thing Lindelof knows how to do, it’s build a mystery. As showrunner and writer on such series as Lost and The Leftovers, he seems to be in his wheelhouse. And, the original comic book series revolved around a mystery, so it’s only appropriate that this one does, too.

Speaking of mysteries, it looks like Lindelof is up to his old tricks, using flashbacks each episode to reveal answers and spoon feed information on characters to the audience. This worked as a device on Lost, though half the show was devoted to it there. He seems content to offer only one or two flashbacks per episode with this series, but each of them packs a wallop. They dive deep into real-world events, such as the Tulsa Race Massacre, or the Germans dropping anti-American notes on African American soldiers in World War I, trying to dissuade them from fighting for a country that doesn’t care for them. Despite this being a familiar storytelling tactic for Lindelof, both of these incidences serve as springboards into the insanity of Watchmen’s world, much like Alan Moore and Dave Gibbons did with the Vietnam War in the original story, so it’s entirely on-brand for the showrunner, and the property.

King continues to carry the show on the strength of her ability to bring her character to life as a real, flesh and blood person dealing with these outlandish situations, but that doesn’t mean the rest of the cast isn’t turning in top-notch performances. Gossett and Irons chew the scenery at every turn, and you can’t take your eyes off of them. Tim Blake Nelson is spellbinding, as well, portraying the enigmatic Looking Glass, who could either be Sister Night’s greatest ally, or her worst enemy. If the better part of this cast isn’t nominated at Emmy time, there will be a great injustice being done.

In the end, the sensitive nature of this show, which is a commentary on racial tensions throughout American history, will continue to divide the audience. There are people who don’t mind the age-old tradition of science fiction using its stories to express social commentary. There are people who don’t like heavy subject matter mixed with their entertainment. Then there are the people who just plain don’t understand what any of it has to do with Watchmen. You can’t argue against how somebody feels. This review isn’t here to tell anyone they’re wrong. It’s just here to ask that you set aside how you feel for a minute, and give the story a chance to unfold. You might just find that the writing and acting are on par with the best in the business, and compelling enough to pull you in, despite your reservations about the message.

Grade: A+