We live in the age of IP, where familiar titles are adapted again and again, simply because of that familiarity, and not because anyone has an original thought about them. Then there is Watchmen. The original mid-Eighties comics masterpiece by Alan Moore and Dave Gibbons proved impossible to adapt for decades. The 2009 Zack Snyder film managed to re-create most of the plot while utterly missing the point of the endeavor. Lost and Leftovers alum Damon Lindelof went a different way when the property fell into his hands, using the world Moore and Gibbons built to tell a fanciful yet raw story about the ugly history of American racism, as seen through the eyes of Sister Night (Regina King), a police officer who, like her colleagues, dons a mask and special uniform so she can do her violent work with impunity. (When some cops in our world began wearing masks while dealing with the post-George Floyd protests, the show proved unfortunately prophetic.) Sister Night finds herself at the center of a swirling narrative that incorporates the Tulsa race massacre of 1921, multiple trips to one of Jupiter’s moons, time travel, a space dildo, and a costumed hero whom cops dub “Lube Man.” Yet all those wildly disparate elements — including an all-time musical score by Trent Reznor and Atticus Ross, plus terrific performances by King, Jean Smart, Jeremy Irons, Hong Chau, and Yahya Abdul-Mateen II — feel of a transfixing piece with one another, and also with the elusive source material.