The tenth chapter of the second season of Disney+'s The Mandalorian offered viewers a whole lot of action and fun, top to bottom. When you have frog-like creatures, The Child aka "Baby Yoda" going bobbing for eggs, a The Transporter-like mission from Tatooine to Trask, an ice planet, spider-like creatures, an X-Wing rescue, and Mando (Pedro Pascal) getting an arrest warrant against him dropped, then you have the makings for space thrills (they had me at "spider-like creatures"). So as our heroes continue their journey to Trask, the streaming service is honoring The Passenger (and eggs) with its own character key art- once again, meaning to us that we've got another major player in the game.
As we take a look back at the full, updated collection, a quick reminder to leave enough space for possible key art of Sasha Banks, Rosario Dawson, Temuera Morrison, Katee Sackhoff, 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."