• The second episode of HBO’s “Watchmen” revealed some surprising plot twists, interesting cameos, and was packed with Easter eggs referencing the original comics.
  • We break everything down for you to help explain what it all means in the context of the story and what it might foreshadow for the characters in the remainder of the season.
  • Here’s everything you might have missed in “Martial Feats of Comanche Horsemanship.” And warning: possible spoilers ahead if you haven’t seen episode 1.
  • Visit Insider’s homepage for more stories.

Following is a transcript of the video.

Narrator: The second episode of HBO’s “Watchmen” included a few shocking plot twists and was packed with many more Easter eggs referencing the original graphic novel.

Here’s everything you might’ve missed.

And warning: spoilers ahead.

As with the premiere, the episode opens by recreating yet another real, historical event, this time in World War I.

A German commander is dictating the contents of a leaflet, which says "Coloured Soldiers of the States." This was an actual document created by Germany and distributed to African American soldiers to try to convince them to surrender.

In "Watchmen," this is the same note we saw the child and old man holding in episode one.

The title of this episode is "Martial Feats of Comanche Horsemanship." This refers to a painting by George Catlin called "Comanche Feats of Horsemanship," which we see later in the episode, hanging in Judd's home.

It depicts four horsemen, two of which are demonstrating a battle technique where they would hang off the side of their horses to avoid being attacked.

When Angela drives through the alley, we briefly see a familiar street-art mural on the brick wall. The image is a silhouette of a couple embracing each other, which is depicted many times in the comics.

It's known as the "Hiroshima Lovers," or "Shadow Lovers," painted around the city by a gang called the Knot Tops.

At one point, Rorschach's mask even resembles the image.

At the newsstand, we get references to two different publications that are featured in the comics. The man tells the girl that the latest edition of the Nova Express isn't out yet. This is a weekly magazine that was anti-vigilante.

Later in the scene, we get a shot of the New Frontiersman, a pro-vigilante publication.

At the crime scene, we see two men shooting video. The flying suits are likely a reference to Mothman, one of the original Minutemen who is an inventor that built a flying apparatus. Back at Angela's house, we see the clock is ticking close to midnight, a very frequent symbol in the series, representing the doomsday clock. This doomsday clock imagery can also be seen in The Comedian's bloody pin. After the White Night attack, we learn that Judd was shot in the right arm. Back in episode one, when he removes his shirt, you can see a few scars in the same spot.

When the police raid Nixonville, we get a few different shots of American flags in the trailer park. These flags show the traditional 50-star arrangement, as opposed to the new 51-star flag that includes Vietnam.

Angela walks into the Greenwood Cultural Center, a real place in Oklahoma which memorializes the victims of the Tulsa Race Riot. Two of the displays might look familiar. Here we can see the same torn-down sign from the Dreamland Theater, and we also see a leopard-print jacket, which, if you looked closely, you could see a man wearing during the opening scene of episode one. The man on the computer screen is Henry Louis Gates Jr. Gates also hosts "Finding Your Roots," a PBS show that helps people discover the truth about their lineage, just as he does for Angela.

When Angela gets home, her daughters are dressed up in costumes, playing with her husband, also in costume. One of them is an owl, another reference to Nite Owl's character. The other is a pirate, who is making their father, a ghost, walk the plank. This is likely a reference to "Tales of the Black Freighter," a fictional comic within the "Watchmen" comic about a ghost pirate ship. Topher, meanwhile, is in his bedroom, playing with a Doctor Manhattan-inspired toy called Magna-hattan Blocks. What he's constructing with the blocks is also interesting, as it appears to be Veidt's mansion, the same building Doctor Manhattan was building on Mars out of dirt in episode one. Like Doctor Manhattan, Topher also destroys the mansion, possibly foreshadowing what's to come.

In this episode, we get to see a bit of the "American Hero Story" program teased in the premiere. The clip centers around Hooded Justice, the first masked hero, whose story is told in the comics through Hollis Mason's book, "Under the Hood."

The supermarket scene is described in the first chapter. The circus strongman Rolf Müller is thought to be the identity of the Hooded Justice in the comics, and he's eventually killed and found floating in Boston, but Hooded Justice's true identity is never actually confirmed; he simply disappears.

Back at the Veidt mansion, it's revealed that he is writing a play and that his staff is actually a bunch of clones. The play they perform is the origin story of Doctor Manhattan. They're playing Jon Osterman, his true identity, and his girlfriend, Janey Slater. The Gila Flats that you can see in the background is a research base where he was performing experiments and where the two first met.

There are a few references to the original incident that turned him into Doctor Manhattan. Specifically, the watch left behind in the test chamber and the number 15, the test block which was about to be disintegrated. One of Janey's lines in the play is that the door is "as impenetrable as the Gordian Knot." A Gordian Knot is metaphor for an unsolvable problem, an intricately tied knot that cannot be untied. It is eventually cut by Alexander the Great in a legend. In the comics, there's a company called Gordian Knot Lock Company with the motto, "They'll never undo this sucker." Like Alexander, Rorschach also breaks through the Gordian Knot using force.

Did we miss anything? Let us know in the comments.