Starting in 1986, the graphic novel Watchmen deconstructed the very concept of heroism. A product of the ‘80s, it took its title and main theme from the Juvenal poetic line translated over the years as “Who watches the watchmen?” Very much a reflection of its time, Watchmen incorporated fears of Reagan-era America into a narrative that took heroism seriously, commenting on everything from the Cold War to the nuclear arms race. And it created a world of new heroes, villains, and anti-heroes, including memorable characters like Rorschach, Ozymandias, Silk Spectre, and the Comedian. It is helpful to know this world, but not necessary. (Still, I would always recommend reading Watchmen. It’s excellent.)

The show picks up 35 years after the end of the book, and references and eventually includes some characters from it, while also introducing some new ones. The main protagonist is Angela Abar (Regina King), a Tulsa police officer who also happens to be a shadowy figure known as Sister Night. In a series premiere that fearlessly tackles racial animosity and the divisions in this country, we learn that police officers have been forced to become masked heroes because men and women of the law are so regularly targeted by fringe groups like the 7th Cavalry, who wear Rorschach masks and seem to be seeking anarchy. The police force and superhero culture have intertwined, meaning someone with special powers like the human-lie-detector Looking Glass (Tim Blake Nelson) works with someone like the Tulsa Chief of Police (Don Johnson). However, vigilantism is still outlawed.

Any series premiere that opens with the violent shooting of a black police officer by a white man is throwing down a gauntlet that declares that this is not going to be a typical bout of superhero escapism. “Watchmen,” especially that first episode, is daring in its use of incendiary imagery, but it never feels like exploitation or controversy for the sake of it. I expect that the premiere will produce some burning hot takes, but I would ask everyone to be patient with this show. Lindelof and his writers have an amazing ability to subvert imagery and narrative expectations. It’s a show that very rarely telegraphs where it’s going next, but always feels confident in how it takes you there. It’s the kind of thing I’m positive people will want to watch again when it’s over to see how it fits together and how Lindelof and his team are playing with themes early that rise to the surface later.