Damon Lindelof Just Keeps Getting Work

The man who ruined your Star Trek, Lost, and, the one that made me personally feel ripped off, Prometheus, with his blinkered, arrogant “unable to close the deal” view of the world, just keeps getting work.

Just keeps getting work. Just wait for it…

Damon Lindelof has returned from wherever he was hiding and reading, more on that later, to torture us with more of his “off the rails” political and cultural analysis of our contemporary world, gussied up as entertainment.

Lindelof was handed the keys to the sacred Watchmen comic IP that was handled as well as possible by Zack Snyder in 2009. This is a complicated story by Dave Gibbons and Alan Moore, and well, Lindelof doesn’t respect the IP.

Which he revealed in his comments from the NYC Comic-Con interview he gave this weekend about his upcoming HBO series.

According to Deadline, this sequel to Watchmen is a little bit different:

Based on Alan Moore and Dave Gibbons’ acclaimed and genre-shattering comic from the 1980s, this Watchmen from The Leftovers co-creator is distinctly set in an America of 2019. A nation where Robert Redford has been President for decades, where there is a lot less technology distracting people, where police wear masks and where superheroes once walked the Earth.

The police wear masks?

Robert Redford is President?

No social media or cell phones, which, of course, means no Internet or ability to get away from the dominant “right” messages of our cultural and political betters.

Well, I’m already out and he hasn’t even started talking yet.

Who Watches the Watchmen? Not HBO, Apparently…

No one knows how to respect comic books in general and that 100-year long tendency is part of a larger cultural issue in America with entertainment.

I too would like to leave for a galaxy less complicated by human affairs.

But, to be clear, when a person declares that an established piece of art from another genre is “canon,” you can be guaranteed that they don’t actually respect, understand or value the canon the art came from in the first place.

But, don’t believe me. From IndieWire:

“To be clear, Watchmen is canon

This story will be set in the world its creators painstakingly built… but in the tradition of the work that inspired it, this new story must be original… It has to vibrate with the seismic unpredictability of its own tectonic plates. It must ask new questions and explore the world through a fresh lens.

Most importantly, it must be contemporary.”

Ahhh. There it is. “Contemporary.”

That means the IP will serve the agenda of making sure that you get beat over the head by Lindelof, HBO, and Warner Brothers.

Because you had the temerity to do the following (in no particular order):

  • Vote for the Orange Bad Man,
  • Not believe enough in “Hands Up Don’t Shoot” myth from Ferguson, MO.,
  • You haven’t given up all your property yet to match a Ta-Nehisi Coates’ reparation fueled reality,
  • You just won’t stop calling the cops when your stuff gets stolen,


Bending The Source Material to Fit An Agenda

Here’s a newsflash: Reparations don’t work, have never worked, and will never work anywhere they’re ever tried, in order to get to that mythical “equality” SJW virtue signalers like Lindelof are seeking.

When blinkered jackasses try to look smart, they cover their mouths with their hands.


Directly from the covered lips of the Chief Jackass himself at NYC Comic-Con:

“The beginnings of the idea for this season of Watchmen started with the question of what’s the political landscape in 2019 versus what the political landscape was in the mid-1980s. What is the undefeatable evil that superheroes can never defeat? So that was another question that was sort of swirling around in my head. Then I was reading a lot of Ta-Nehisi Coates, and I read his book Between the World and Me and all of his essays in The Atlantic.”

Oh boy. He spent his summer “reading”…

“The one that stayed with me is ‘The Case for Reparations.’ In that article, as I mentioned at TCA, he wrote about the raiding of Black Wall Street in 1921. Now, I had never heard of Black Wall Street and Tulsa, Oklahoma and what are these things. I looked it up on the internet. Then I ordered some book and I read them. I felt compelled by the story.”

Anytime a mediocre television writer who can’t close the deal on a plot as simple as Lost, tells you he felt “compelled” to tell a particular story, watch out for your brain and your emotions because your buttons are about to get leaned on.

‘Useful’ Idiots Are More Idiot than Useful Lately…

On the one hand, I’m glad that these over-educated idiots feel awesome enough, arrogant enough, and stupid enough to expose — finally — their long-held disdain for the public that watches their material and their creative output.

To the barricades, you overpaid and coddled journalists and Hollywood writers.

On the other hand, I’m disappointed at how deep the cancer has spread in our culture, throughout our education system, and even in the world of corporations who seem more concerned about virtue signaling to people in NY and LA than actually making money from the rest of us.

I’m not going to watch this show. It’s not for me.

Just like most modern — there’s that word again — television and entertainment offerings aren’t for me either.

Instead, I’m encouraging you to send Lindelhof and his ilk a message and stay the hell away from this crap starting October 20th.

It stinks from the head and if you watch it, you’ll stink as well.

Get after it in the comments below, Goblins.