If there was ever any doubt that Moff Gideon (Giancarlo Esposito) wasn't quite done with Mando and The Child, last week's episode "Chapter 12: The Siege" pretty much put that to rest. As if learning that The Child's blood appears to be a cherished commodity by the remnants of the Empire wasn't troublesome enough, it appears our dynamic duo have a tracker on them. Because a certain darksaber-wielding "big bad" is really interested in knowing where they're going- and what he can gain from it. Now when you continue making a huge impression like Gideon is doing, we all know what that means- right? Yup, that means Disney's The Mandalorian rewards you with your very own character key art- with Gideon looking ready to throw down in the blink of a second.
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 (okay, maybe 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."