With The Mandalorian ready to storm his way into his second-season finale willing to take down anyone or anything that stands between him rescuing Grogu aka The Child from the clutches of Moff Gideon (Giancarlo Esposito). One of those helping him make that happen is the returning Fennec Shand (Ming-Na Wen), saved by Temuera Morrison's Boba Fett since we last saw the assassin/mercenary (as we learned in "Chapter 14: The Tragedy").
Since that time, Shand's been exactly the kind of back-up Mando's going to need to go up against the wielder of the Darksaber. So for those reasons and so much more- and because it's a Monday following a new episode- Shand is the recipient of what looks to be the second-to-last honoree in the character key art gallery.
Along with your newest addition above, here's a look at your (updated) friendly-neighborhood collection of character key art posters- and make sure to let us know below who you think gets the final spot and who was also deserving of the honor:
This season, Peyton Reed (Ant-Man), Robert Rodriguez (Sin City), cast member Carl Weathers, Rick Famuyiwa (Dope), Bryce Dallas Howard (Dads), and Sam Hargrave (Extraction) all shared time with series creator Jon Favreau and executive producer Dave Filoni in The Mandalorian director's chair. While the second season of Disney+'s live-action Star Wars spinoff series got off relatively light compared to many COVID-19-impacted productions, Favreau was asked if new health and safety guidelines would make it difficult starting up production on the third season and if he had concerns. As Favreau sees it, the series' reliance on virtual sets/scenes and distance-based production actually lends itself pretty naturally to the "new norms" on sets now:
"The fact that the set is much more contained is a benefit because you can limit the number of people. A lot of the people controlling it are doing it remotely from what we call the Brain Bar, which is a bank of gaming computers, essentially. The amount of people near the camera could be much smaller than [usual]. We also shoot a lot outside, which is helpful, too. We build to a moment in filming more like an animated production, where we have a lot of storyboards, a lot of discussions, and scouting in virtual reality. We use cinematic tools in VR much the same way we did for The Lion King and The Jungle Book. A lot of times the actors you are seeing on the screen aren't actually there on set."