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When the comic of Crisis on Infinite Earths came out, it was a celebration of DC's characters across several generations.  The new crossover event on The CW is now a celebration of the numerous film and TV adaptations that those comics inspired.

As if in response to the ongoing complaints that Superman, as a character, is irrelevant to modern audiences, The CW's Crisis on Infinite Earths event just upped its game and gave us four different versions.  Supergirl's Earth-38 Superman and Lois encounter several across the multiverse, which provides epilogues for three former franchises.  It seems sort of fitting that Smallville's Clark gets a happy ending, after he got rid of his powers and settled down with Lois and their daughters.  Things did not work out quite so well for the other young Superman from Superboy, who died at the hands of Lex Luthor.

Crisis on Infinite Earths is the gold standard for epic crossover event comics, and its adaptation into an Arrowverse crossover event (featuring episodes of the live-action television series Supergirl, Batwoman, The Flash, Arrow, and Legends of Tomorrow on The CW) is shaping up to be television's equivalent.?

With its third episode (a chapter titled "The Sin"), Disney+'s The Mandalorian continues with its bold and brash style, this time under the helm of director Deborah Chow (who will also be directing the streaming service's upcoming Obi-Wan Kenobi series starring Ewan McGregor). The series' lead character has been compared both to American gunslingers like Clint Eastwood's iconic "man with no name" and the noble and honorable Japanese samurai warriors, most notably Ogami Ittō of Lone Wolf and Cub. Previous episodes of the series have mined many standards and tropes of the Western genre, but "The Sin" gives audiences the chance to learn more about the state of Mandalorian culture after the fall of the Galactic Empire and see the disciplined Bushido-like code of those who walk the way of the Mandalore.

The pilot episode of The Mandalorian landed earlier this week (thanks to the launch of Disney+), much to the joy and excitement of many Star Wars fans. Drawing heavily on the Western genre and “the man with no name” motif, the first live-action Star Wars series is off to an incredibly solid start, and there are surely many out there who are highly anticipating the second episode of the series, available for the first time today. Written, once again, by series creator Jon Favreau (The Lion King, Iron Man) and directed by Rick Famuyima (Confirmation, Dope), the second episode answers some questions while posing others, all while continuing to give us a dusty, mythic story of a stranger wandering the rugged galactic frontier with a mask and a blaster.

Buckle up, baby, because The Mandalorian has arrived, and the premiere of Disney+'s new streaming series is setting an impressively high bar for the competition to follow. Written by series creator Jon Favreau and directed by Dave Filoni (the creative force behind Star Wars: The Clone Wars and Star Wars: Rebels), the first episode of The Mandalorian is stunning, awe-inspiring, and nearly everything a Star Wars fan could wish for when it comes to a live-action series.

I can’t get over how fantastically talented Phoebe Waller-Bridge is. Not only is she the writer, creator, and star of the Emmy-nominated Fleabag, she’s also the showrunner for the spy thriller, Killing Eve – a completely different show in both style and tone, but still excellent and fun to watch. Additionally, she’s the creator/star of a 2016 BBC show called Crashing and was the voice of L3-37 in Solo: A Star Wars Story last year, among many other things. Still, her crowning achievement, in my opinion, is Fleabag. It’s a very simple, very understated show, but it blew me away. Twice.

The second season of American Gods has come to a close with the episode, “Moon Shadow.”  

The latest episode of American Gods, “Treasure of the Sun,” tells the history of Mad Sweeney through a series of flashbacks, and it only seems fitting to depict story of such an unconventional leprechaun backwards.  Starting with a prophecy of his death, his journey traces back to the beginning of his descent.

The Second Golden Age of Television has brought us great serialized entertainment, but there will always be a special place for fantastic standalone episodes. This week's episode of American Gods, “Donar the Great,” demonstrates their importance.  Adapting American Gods into a TV show allows for the source material's mythology to expand and develop concepts that are only touched on in the book.  Thor's story is briefly mentioned in the book, but what was originally a few passing lines now takes on a whole new meaning.  I expect nothing less from an episode directed by Rachel Talalay.

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