Production
Writing
"This Extraordinary Being" establishes the origins of Hooded Justice, revealing that he was in fact Will Reeves, Angela's grandfather. Much of the origin of Hooded Justice is based on the material that Alan Moore and Dave Gibbons had established for the Watchmen comic series. While Hooded Justice is a minor character whose identity was never revealed within the comic book, he played a key role in stopping the attempted rape of Silk Spectre by The Comedian shortly after the Minutemen had posed for their first photo session. Many elements of the comic's supplemental texts written by Moore as interludes, particularly the fictional Under the Hood memoirs by Hollis Mason (the original Nite Owl), were drawn from and referenced in the episode. These included Hooded Justice saving a young couple in his first known appearance, his participation in the Minutemen photo session, and his homosexuality.
The miniseries also contains scenes from a fictional TV series within the show's universe centered on the Minutemen titled American Hero Story: Minutemen (a parody of the American Horror Story franchise), depicting a violent, hyper-stylized version of Hooded Justice played by Cheyenne Jackson (who himself starred on American Horror Story). "This Extraordinary Being" opens with a scene from American Hero Story in which Hooded Justice is unmasked as bodybuilder Rolf Müller, whom Mason speculated to be Hooded Justice's true identity in Under the Hood. Mason notes that Müller's body was later recovered from the sea, which the miniseries had depicted as the opening scene of American Hero Story in the episode "Martial Feats of Comanche Horsemanship." [1]
Remarking on the racial themes in the episode, director Stephen Williams stated that Watchmen endeavors to "unearth... that part of our collective history that has been neglected, or omitted, like Tulsa 1921, in the pilot.... These are all parts of African American history, and obviously, by extension, therefore straight-up American history that have been given short shrift." [2] The episode's title is taken from Hollis Mason's introduction of Hooded Justice in Under the Hood. [3] [4]
Will is shown being inducted into the New York Police Department by Samuel J. Battle (played by Philly Plowden), who in reality was the first black officer in the force. [5] Vox observed that the character of Fred, the racist white supermarket owner played by Glenn Fleshler, appears to allude to Fred Trump, the father of Donald Trump, based on both his appearance and other elements that aligned with the elder Trump's biography, including his involvement with the Ku Klux Klan. [6]
Filming
"This Extraordinary Being" is largely filmed in black and white, outside of the opening and closing scenes. Selected elements of some scenes are shown in color, such as the imagery of Will's mother playing the piano. [2] Additionally, in seemingly one-shot takes, young Will (played by Jovan Adepo) is swapped out in scenes with Angela (Regina King) to show her immersion in the Nostalgia-induced lucid dream. Director Stephen Williams, who previously worked with Lindelof on Lost , was hired to direct this episode even before its script had been written. Williams was drawn in by the premise of the episode from Lindelof's description, and opted to use the black and white filming approach as this episode needed to be presented differently from the rest of the series, using colored elements to indicate "the incursion of other memories that were pivotal and meaningful and significant for Will that imposed themselves on that landscape". [2] Williams ran several test filming runs for many of the episode's practical effects using stand-ins for the main actors. [2] Many of the uncut shots featuring Adepo and King were done with simple camera movement, allowing the actors to switch places during the shot. [2] Other long-takes were also done with practical effects: for example, the shot taken from Will's point of view during his near-lynching was executed by hoisting the camera out of the operator's hands, holding it there long enough, and then lowering it back down to continue the shot. [2]
Most of the episode was filmed in Macon, Georgia, which stood in for a 1930s New York City. [7]
