And, most importantly, he corrected most of the issues that hindered the film adaptation. He updated the period piece in ways that would make it connect better with today’s audience. He honored the source material without being slavishly loyal to it. In his triumph, Lindelof was able to avoid many of the problems that befall too many adaptations. (And that happened before the sublime finale Sunday night.) (Gibbons is a consulting producer on the show.) By honoring the past, but moving the property forward, the new Watchmen, created by Damon Lindelof, became one of the year’s best television series and earned a place on a host of year-end 10 Best Lists. It was a continuation of what Moore and Gibbons had started, but decidedly, not a reboot. The premium cable network also chose to advance the Watchmen story rather than retell what had previously been done. Smartly, HBO remade Watchmen and gave the material the length of time it deserved – well over nine hours for its first season – and because of that, it coalesced as a series, both understandable and wholly involving. Zack Snyder made a noble effort given his shorter time frame, but the middling 64% score on tells you all you need to know about how effective that adaptation was. The decision to adapt Watchmen as a 2.5-hour theatrical release in 2009, rather than a longer miniseries for television, marred the ability to translate the sprawling and complex graphic novel by Alan Moore and Dave Gibbons into a truly cogent narrative. Is the source material filmable? Is what worked on the page or stage a guarantee it will translate properly to the screen? Even the length determined for an adaptation can affect the success of it. Adaptations for film and TV are a tricky lot.
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