By the time the dust settled on the Bryce Dallas Howard-directed "Chapter 11: The Heiress," Disney+'s The Mandalorian had formerly introduced three new Mandalorians (Katee Sackhoff's Bo-Katan Kryze, Mercedes Varnado/WWE's Sasha Banks' Koska Reeves, and Simon Kassianides' Axe Woves) and sent the Mandalorian and The Child on a journey to the city of Calodan on the forest planet Corvus to meet with a certain Jedi everyone's been talking about since the rumor rumblings first surfaced. So it's that time once again to bestow a high honor upon characters who play an important role in the series: their own character key art to add to your ever-growing collection"
— Katee Sackhoff (@kateesackhoff) November 16, 2020
As we take a look back at the full, updated collection, a quick reminder to leave enough space for possible key art for Rosario Dawson (possibly this week), Temuera Morrison, and Michael Biehn (assuming the wheels of the rumor mill have been grinding properly):
Behind the camera, Peyton Reed (Ant-Man), Robert Rodriguez (Sin City), cast member Carl Weathers, Rick Famuyiwa (Dope), Bryce Dallas Howard (Dads), and Sam Hargrave (Extraction) will be sharing 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 appears to have gotten 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 a (for now) hypothetical 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."