HBO debuted Watchmen this past weekend, and viewers are rejecting it largely due to its violent, anti-white content.
The initial scene of the show featured an instance of racist violence by whites against blacks in Tulsa, OK, which sets the stage for the series that is meant to demonize white people as monsters – a typical leftist trope seen throughout the mainstream media in the age of President Donald Trump.
“What’s happened is that Trump has just emboldened people. They were always there, feeling the way they’ve been feeling, but now, oh my gosh,” Watchmen actress Regina King said in an interview.
“No one wants their filthy past, their dirty little secret, to come out. A lot of people in these positions of power – white men – don’t even realize it was a problem, or something you should feel embarrassed about,” she added.
The show creator Damon Lindelof, who also created Lost and The Leftovers, has said publicly that he made the show to be as “woke” as possible.
“When I started to think about what ‘Watchmen’ was going to be, trying to think about it in the original source material, the book was highly political,” Lindelof said to the Television Critics Association this summer. “What in 2019 is the equivalent of the nuclear standoff between Russia and the U.S.? It felt like it was undeniably race and policing in America.”
“This show is trolling the white savior,” he added.
The vehemently anti-white show was panned by audiences following its first episode. It has received a rotten favorability rating of 43 percent from viewers, which has prompted the woke media to blame “right-wing trolls” for the show being incredibly unpopular with fans.
Esquire blamed “manbabies” for the show being received negatively:
After its premiere on HBO Sunday, more than 1,000 users have taken to Rotten Tomatoes (more than 5,000 on IMDB) to review Watchmen, where it currently has a 98 percent from critics and an audience score of 45 percent. This type of audience/critic disparity is a pretty common occurrence with these types of highly anticipated comic adaptations, where manbabies will tank a series or film’s review aggregations, complaining about a perceived political agenda or efforts to have a more diverse cast…
It’s disturbing that people find the thesis of “White Supremacy Is Bad” to be a Social Justice Warrior agenda. White supremacy is bad—and it’s heartbreaking that this is not a universal truth in 2019…
The only good thing about this review bombing is that Lindelof entirely anticipated it from trolls. His series was made to piss people off—like Moore’s comics did.
Vox attempted to lecture the audience as to why they should like the show despite it’s heavy-handed political agenda:
People with power putting themselves above the law and inflicting their brand of “justice” has punctuated America’s history. And as was the case during the riots in Tulsa, and others like them in Chicago, Atlanta, and Los Angeles, the people who are in power has always been directly tied to race…
Through this lens, it’s both harder and more uncomfortable to ignore abuses of power. Watchmen on HBO makes it clear who holds that power in America’s history (traditionally white men), and for viewers who share these scions’ skin color and gender, the impact of racial supremacy on this superhero society can be a painful truth to contend with. The Watchmen TV show relentlessly emphasizes that white people’s abuse of power has shaped the lives of everyone around them, particularly those who are not white and powerful.
What bears repeating is that Lindelof’s adaptation might be a bit more difficult and uncomfortable, but it’s essentially telling the same story of power politics that Moore was. It’s just that in 2019, Watchmen’s alternate America isn’t quite as far away from our own.
However, it appears that the official critics and media pundits are in an echo chamber that is largely divorced from popular perception
An analysis from YouTube vlogger Nerdrotic breaks down the relatively low ratings for Watchmen during its HBO debut, how the show deviates wildly from the comic book’s source material to push a left-wing agenda, and the difference in the official critics’ reception of Watchmen in comparison to Joker – which is now the highest grossing R-rated film in history – despite Watchmen being far more violent and politically charged.
As the entertainment industry gets more heavy-handed to promote their leftist, anti-white agenda, the backlash is only increasing, as ordinary people are getting sick of being lectured to by hypocritical Hollywood elitists.
BIZARRE: Hulu Developing Alternate History Show Where Hillary Clinton Wins the Presidency
Dream on, liberals.
The streaming video service Hulu is developing a show featuring an alternative history timeline in which Hillary Clinton became President.
— Variety_TV (@Variety_TV) July 22, 2020
The show will be based on Curtis Sittenfeld’s book “Rodham,” a fiction book about Hillary never meeting Bill and then becoming President on her own merits.
Variety describes the show as “telling the story of an ambitious young woman, developing her extraordinary mind in the latter part of the 20th century, moving from idealism to cynicism and all the way back again.”
Sarah Treem, who co-created the series “The Affair,” and also worked on “In Treatment,” “House of Cards,” and “How to Make It in America,” will be writing and executive producing on the show. Executive producer Warren Littlefield, The Littlefield Company, and Fox 21 Television Studios will also be involved with the project.
Big League Politics has reported on how Hillary and her daughter, Chelsea, are setting their sights on Hollywood to keep their disgraced family’s image in the limelight:
Hillary Clinton is set to launch her own film and TV production company with her daughter Chelsea, according to reporting from Bloomberg.
The Clinton film studio will reportedly feature stories “by and about women.” It’s likely the neoliberal political dynasty would publish content with an abundance of feminist themes, as if Hollywood was failing to produce enough already.
The plan by the Clintons to enter the world of film and television could finally signal their departure from American political life. The family has been a de facto presence in national politics since the early 1990’s, although they’ve been forced into an early retirement of sorts after Hillary’s defeat in the 2016 Presidential election.
The Obama family is engaged in a similar venture, having entered into a film production contract with streaming giant Netflix. It may not be entirely coincidental for the Clintons to follow along a similar path, having a long-standing rivalry with Obama dating back to the 2008 Democratic Primary. Then-Senator Obama defeated Hillary in a contest for the Democratic nomination, running on an anti-war platform he would forget upon arriving in office.
The Clintons and Obamas have every right to add their voices to an already saturated market of culturally progressive and lecture-full film production. However, now that they’ve largely departed the national political scene, they may be surprised to find out that the American people feel no obligation to pay them any attention.
“Rodham” will be more entertainment designed to deranged liberal cat ladies who cannot accept that Donald Trump is their president.
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