SPOILER ALERT: This article contains major spoilers from the season finale of HBO’s “Watchmen.” Don’t read further if you haven’t watched. You’ve been warned.

If it wasn’t for everything else that happened in the hour-plus finale of HBO’s “Watchmen,” the final shot of someone downing a raw egg yolk might have left a bad taste in viewers’ mouths.

Even still, I can’t help but gag a little thinking about how that poolside treat is just a case of salmonella waiting to happen.

But because of the context of the scene, the mesmerizing story that preceded it, the acting that informed it, the imagery that accompanied it and the groundwork laid to get us to that ascendant moment, the shot of Angela Abar (Oscar winner Regina King) tossing back a raw egg and mentally digesting the consumption of God-like power breathtakingly punctuated a truly stunning season of television - and that’s how it should remain.

If you are reading this HBO, I beg of you, please don’t make anymore “Watchmen.” What creator Damon Lindelof gave us was perfect and I want to remember it that way.

To be honest, I fight all of my instincts in writing that sentence because of course I should want more “Watchmen.”

I named it my favorite TV show of 2019. King turned in a revelatory performance as a masked detective faced with a white supremacist uprising and the arrival of a mysterious grandfather who happens to be the world’s first masked vigilante.

My beloved Jean Smart matched her as a former masked vigilante that now hunts down such activism with a verve fueled by the scars of her own time behind the mask.

The show crafted around them was a rich tapestry of character work and thematic dissection, all of it aimed at the beating heart of why we elevate superheroes to god status and crave the very notion of absolute power when, really, none of us would know how to use it.

More importantly, it delivered on something so rare and, perhaps even impossible, in this current age of ALL THE TELEVISION - and yes, that is supposed to be in all caps.

Lindelof said from the beginning that he built this season as a single story. When questions of follow-up seasons often arrive before shows even premiere these days, he was up front that he had an idea set in the “Watchmen” world - based on the landmark 1980s graphic novel series - and he executed it beginning to end. End of story, literally.

When Angela consumes what we are led to believe is the infinite power of her now-dead husband, Dr. Manhattan, and the screen cuts to black just before she steps into her new future, I was left with a truly foreign feeling - complete satisfaction.

You don’t feel that with television these days because there is so often the chance that more is coming. Or what once felt satisfying has been diluted by the need for more (cough, “Big Little Lies”). But what’s potentially so bold about “Watchmen” is that it could finally prove that just the right amount is more.

When the “Watchmen” climactic battle ends where the series began - inside the battered Dreamland Theater, outside of which we saw the Tulsa riots of 1921 launch the show - I knew this was something different.

There was symmetry and intention coming to fruition in front of our eyes, like a symphony of squid guts and dead bodies. There was beautiful and tragic balance in the journey Lindelof took us on - and I am so intensely grateful to have been among those who watched the Watchmen.

Reporter Hunter Ingram can be reached at Hunter.Ingram@StarNewsOnline.com. Hunter is a member of the Television Critics Association.