Only four episodes into the second season of Disney's The Mandalorian and viewers have a lot to process. First off, we have Mando (Pedro Pascal) and The Child continuing along their epic quest to get "Baby Yoda" back to his people. Along the way, we've caught up with Gina Carano's Cara Dune, and Carl Weathers's Greef Karga. As for new faces, let's just say that Timothy Olyphant's Marchal Cobb Vanth, new Mandalorians Katee Sackhoff's Bo-Katan Kryze, Mercedes Varnado's (Sasha Banks) Koska Reeves, and Simon Kassianides' Axe Woves. We even got what we're assuming was a look at an "I'm getting too old for this s**t" Boba Fett (Temuera Morrison). We've watched The Child become a "big bad" for one week over eggs, some very cool ice battles, and a reminder that Moff Gideon (Giancarlo Esposito) is hot on their trail- and he has plans for that "magic" inside The Child's blood.
From this point forward, consider the "MAJOR SPOILERS AHEAD!" sign on…
Now with all of that said, the Dave Filoni-written and directed "Chapter 13: The Jedi" offered fans what they've been waiting for: Rosario Dawson's "Clone Wars" hero Ahsoka Tano in all her glory. While Bleeding Cool's resident The Mandalorian expert Tom Chang will be along this weekend with his review, we knew you've been waiting long enough so here are some screencaps offering a quick look at what the chapter has to offer:
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."