Marvel Agents Of Shield Season 1 Full Download

With its fourth season, Marvel's Agents of SHIELD is the best it's ever been, maturing as a show and learning the right lessons from what's come before. Network scheduling shifts prompted some of the best creative changes for the series, with its move back to 10 p.m. Allowing for darker tones and story material, and multiple breaks throughout the year inspiring the writers to lean into a three-pod format. Because of those two key changes, Agents of SHIELD was able to dig deeper into its introduction of Ghost Rider and exploration of artificial intelligence, to successful results.

Was broken into three pods tied together by the central plot device of the Darkhold: 'Ghost Rider,' which introduced Robbie Reyes and his conflict with his Uncle Eli; 'L.M.D.,' which saw Radcliffe and AIDA's experiments with artificial intelligence take a dark turn when the Darkhold became involved; and 'Agents of Hydra,' which threw SHIELD's agents into an alternate reality that they needed to escape. Each was more successful than the pod that came before, with the arrival in the Framework being the strongest arc of the season.

Dec 13, 2017Watch Here ▻ ▻ Download Here ▻ ▻ zeyJtR7Ehi% ORIGINAL EPISODE.

The pod format helped tighten the season and give it a stronger throughline; while Agents of SHIELD tends to do a great job sticking its respective premieres/finales (and midseason premieres/finales), it sometimes gets lost in the stretches of episodes in between as it attempts to keep the momentum of the season up and keep the audience guessing. Having less time between each big shift in the season made for a tighter story overall. Agents of SHIELD has always been a science-based show, so incorporating magic and the supernatural into the series in the form of Robbie Reyes' Ghost Rider was a bit of a gamble going in. While the science-based storylines that came later in the season still were stronger, the inclusion of the Ghost Rider character stuck the landing, largely because of Gabriel Luna's excellent performance and the great CGI work from Mark Kolpack and his team.

Though Ghost Rider looked good and was an effective character, some other elements of this arc weren't as strong. The Darkhold-affected ghostly scientists didn't look great and Eli wasn't a particularly standout villain. But if that's the cost of getting Robbie into the MCU, then so be it; here's hoping he'll return in future seasons as well. Though Ghost Rider's introduction was trumpeted as the standout new character of Season 4, it was Mallory Jansen's AIDA that was the season's MVP. All of the guest stars -- from Luna and Natalie Cordova to John Hannah and Jason O'Mara -- were stellar, but Jansen, in particular, stole the show. The conversation about the rights and wrongs of creating artificial intelligence have been explored time and again in pop culture, but the way Jansen humanized AIDA from conception to villainzation and back again made the character and the storyline work. If Ghost Rider was an experiment, then the AIDA/L.M.D./Framework storyline was back to Agents of SHIELD's bread and butter.

Grounding the story in science, having a shorter and tighter time to tell stories and incorporating more gravitas with the 10 p.m. Timeslot allowed this series to really dig into the more mature facets of the story the show wanted to tell, and it benefited from it. The writers also swung for the fences in many ways, from turning all of their characters into L.M.D.s to bringing back thought dead characters like Ward and Trip in refreshing, emotional ways. Agents of SHIELD really hit its stride in the Framework pod, which I'd consider the strongest arc the series has ever done.

This story allowed SHIELD to showcase just how far it's come over the past few seasons, and challenge the characters by showing them how things could have been. There were some missteps with the L.M.D./Framework arcs, including the implementation of the Superior as a villain. He never was as imposing or terrifying as he should have been, and if he was supposed to be a riff on M.O.D.O.K. Then the show did a too subtle job of incorporating that Easter egg. Fortunately the strengths of the season outshadow the weaker elements, like Eli, the Superior and some of the effects work. Even better, the main characters are the best and most interesting they've ever been, and the show is leaning into some of the more fan-desired moments -- like Philinda, for example -- in ways that don't feel contrived. Four seasons in, the SHIELD writing and showrunning team have cracked their core characters and know the right way to push them and challenge them. All the main characters of this show felt like they grew and changed in significant ways over the course of this year, which I touched on in.

Season 3 left characters like Daisy and Coulson in places where they were unsure of how to move forward, and over the course of Season 4's madcap adventures they had substantive growth to become more confident in who they are. Alternately, people like Fitz and Mack have since been challenged in their belief and understanding of who they are and what they stand for, and there's certainly the sentiment that that emotional baggage will carry over into Season 5. Iain de Caestecker and Elizabeth Henstridge continue to be this series' secret weapons, consistently delivering powerful performances and effectively grounding FitzSimmons' relationship with what feel like real world, emotional stakes. As for what comes next. Well, it certainly looks like we're going to space, though. That might be as marked a change of pace as Season 4's venturing into the supernatural realm of the MCU, but as long as Agents of SHIELD retains some of the smart lessons it learned this past season, the future looks bright for the quality of what comes next for this series. The Verdict With its later time slot and three-pod season arc, Agents of SHIELD delved into more mature territory and was the better for it.

The later storylines -- specifically the Framework pod -- were stronger than the 'Ghost Rider' arc, but across the board is the best season of SHIELD to date. Excellent guest stars and well-crafted supporting characters helped elevate this season above the previous three, and even though there were some elements that weren't as effective in Season 4, overall Agents of SHIELD is better than it's ever been.

• • • External links Official website Marvel's Agents of S.H.I.E.L.D., or simply Agents of S.H.I.E.L.D., is an American television series created for by,, and, based on the organization (Strategic Homeland Intervention, Enforcement, and Logistics Division), a fictional peacekeeping and spy agency in a world of. It is set in the (MCU), sharing continuity with and other. The series is produced by,, and, with Jed Whedon, Tancharoen, and serving as.

The series revolves around the character of, with reprising his role from the film series, and his team of S.H.I.E.L.D. Agents, who must deal with various unusual cases and enemies, including and the. Joss Whedon began developing a S.H.I.E.L.D. Following the success of his film, and Gregg was confirmed to reprise his role in October 2012. The series was officially picked up by ABC in May 2013, and also stars,,, and, with,,,,, and joining in later seasons.

Is created with 's Optic Nerve Studios, while contributes other. The for the series are created by FuseFX, and have been nominated for multiple awards. Several episodes directly crossover with films or other set in the MCU, while other characters from MCU films and also appear throughout the series.

The originally aired from September 24, 2013, to May 13, 2014, while the aired from September 23, 2014, to May 12, 2015. A premiered on September 29, 2015, concluding on May 17, 2016, and the premiered on September 20, 2016, and concluded on May 16, 2017. A of Agents of S.H.I.E.L.D. Premiered on December 1, 2017. After starting the first season with high ratings but mixed reviews, the ratings began to drop while reviews improved. This led to much lower but more consistent ratings, as well as more consistently positive reviews in the subsequent seasons.

Several characters created for the series have since been introduced to the and other media, while a spin-off series, centered on Blood and Palicki's characters and and titled, received a pilot order in August 2015; it was ultimately passed on in May 2016. An online digital series,, centered on, was launched in December 2016 on ABC.com. Further information: The sees Agent putting together a small team of S.H.I.E.L.D. Agents to handle strange new cases. They investigate Project Centipede and its leader, ', eventually uncovering that the organization is backed by, which has infiltrated S.H.I.E.L.D. In the, following, now-Director Coulson and his team look to restore trust from the government and public while dealing with Hydra, a faction of anti-superhuman S.H.I.E.L.D. Agents, and the newly revealed (who possess special abilities).

During the, Coulson begins a secret mission to assemble the, a team of Inhumans, as Hydra restores its ancient Inhuman leader to power. After the defeat of Hive and with Hydra destroyed, S.H.I.E.L.D.

Is made a legitimate organization once again with the signing of the. In the, Coulson returns to being a field agent, due to the world believing he is dead, and is tasked with tracking down more enhanced people including. In addition, Agent Leo Fitz and complete their work on the project as well as the development of the Framework. The sees Coulson and members of his team mysteriously abducted to a space station in the future year of 2091, where they must try and save the remnants of humanity while figuring out how to get home. Cast and characters [ ].

A S.H.I.E.L.D. Agent who oversees many of the division's field operations. In April 2013, Gregg agreed to join the series after hearing Whedon's explanation for Coulson's resurrection, following the character's death in, which he called 'fascinating' and 'true to the world of the comics and mythology'. On whether the resurrected Coulson would be the same as before he died, Gregg said the character had to have changed in some way, but he may not understand how much he has changed. Gregg said he approached Coulson's promotion to Director of S.H.I.E.L.D. As being his dream job, which at the same time forced the character to adopt a more level-headed attitude, like that of. • as Melinda May.

A S.H.I.E.L.D. Ace pilot and weapons expert, nicknamed 'the Cavalry'. Joss Whedon had the character, who was originally listed with the name Agent Althea Rice on casting sheets, 'rolling around in his head' for a long time. Wen was given some backstory for the character to prepare, but was not told how she gained her reputation; with May's past revealed in ', Wen called it 'devastating. To have learned what she had to do, for the good of the many.

I can understand why it would traumatize her so much and cause her to retreat.' Wen called May 'unconventionally maternal', and found that it is her relationship with Coulson rather than any feelings about S.H.I.E.L.D. That make her stay in the organization. • as Grant Ward and. Ward is a Hydra agent who poses as a S.H.I.E.L.D. From the conception of the series it was decided that he would be a traitor, with Jed Whedon explaining that they wanted to have 'infiltration based on betrayal' on a small scale to represent the same thing happening on a massive scale, and to make the Hydra reveal more personal for the characters.

Following the death of his Hydra superior,, Dalton explained that he felt that Ward was always loyal to Garrett rather than Hydra, and so without Garrett would become more of a wildcard, eventually accepting his position as an antagonist to S.H.I.E.L.D. He is killed by Coulson in season three, and his body is possessed by the ancient Inhuman Hive. Dalton returned to the series in its fourth season to portray Ward in the Framework, the virtual reality world created by Holden Radcliffe, where he is Johnson's boyfriend. Portrays a young Ward. An and S.H.I.E.L.D.

Recruit who eventually becomes an agent with the ability to sense vibrations and create earthquakes. The character of Skye was always intended to be the MCU version of Johnson, with Tancharoen noting that the reveal would have consequences for the character's relationships, especially with Coulson. Bennet felt that the character was someone who would wear her heart on her sleeve, but she also has some control over her emotions. Wen noted that the character evolves from being 'anti-establishment into suddenly being someone who wants to create an establishment that would help' the Inhumans. During the third season, the character no longer goes by 'Skye', and by the end is known as 'Quake' to the public. • as Leo Fitz.

An agent of S.H.I.E.L.D. Who specializes in engineering, especially weapons technology.

De Caestecker, in describing the character, said that 'He's quite passionate about what he does. [but] he doesn't really understand emotions as much'. Fitz has a lot of interaction with Simmons in the series, with De Caestecker explaining that 'they've got this kind of weird chemistry together, and they just kind of fit each other in a very weird way.'

The character receives brain injuries at the end of the first season, with the writers researching brain trauma with doctors and experts before approaching it in the series. De Caestecker did his own research as well, feeling it is 'something that should never be trivialized. It's a real and serious thing to a lot of people, brain trauma, so we just have to constantly be respectful towards it.' • as Jemma Simmons.

A S.H.I.E.L.D. Biochemist who specializes in life sciences (both human and alien).

Henstridge described her character as 'intelligent and focused and curious.she's got a wonderful relationship with Fitz. They kind of bounce off each other.' As Fitz and Simmons begin to spend time apart during the series, Henstridge noted that it 'brings a whole new dynamic just to them as characters in discovering what it's like to have to be independent' since they have been near inseparable since first meeting. On the harsher side of Simmons seen later in the second season, Henstridge noted that the character has 'always been very mathematical in a way'.

After Simmons is trapped on the planet Maveth for six months, she becomes 'profoundly different', with Henstridge saying, 'she doesn't just completely change. But she's been through so much. She's hardened. She's had to face things that she never would've imagined [by] herself without Fitz, so she's. Stronger and kind of damaged.' A mercenary before agreeing to join S.H.I.E.L.D. On his character joining the cast in the second season, Blood explained 'Lance doesn't really care that much of what people think of him.He doesn't bow down to the etiquette of the S.H.I.E.L.D.

He later elaborated that the character feels very independent, so would probably not want to admit no longer feeling like an outsider. Also, 'he doesn't have too much respect for authority and titles.if Coulson does something he respects, that's all good. If he doesn't, he's going to say something.' On Hunter's on-again, off-again relationship with Bobbi Morse, Blood said, 'there is a lot of truth in it of those relationships you have where it's kind of, 'can't live with each other, can't kill each other'. Hunter's ex-wife and an agent of S.H.I.E.L.D. Who spent time undercover within Hydra. Palicki was approached by the showrunners specifically for the part during season two, and at first hesitated to take the role given that she likely could not play another MCU character if she did.

Palicki already had martial arts and gun training, but had to learn to use the character's signature sticks; she noted similarities between Morse's fighting style and that of 's from the MCU films. Bell said of the character, 'she and Hunter have been keeping secrets from one another, evidently for years' and something about her is that she seems to be more loyal to an idea than anything else, so what may seem in the short term as a betrayal by her is usually for what she sees as the greater good. A S.H.I.E.L.D. Mechanic with a distrust of the alien and superhuman.

On the different dynamic that a mechanic brings to the S.H.I.E.L.D. Team, Simmons felt that his character would not have to deal with the same stress as the other agents, and that Mack is more worried about contributing in his own way and getting his job done away from the field. About Mack's stance on violence, Simmons confirmed that Mack does not like violence, but will do 'what he has to do.' Mack reveals in the third season, 'It's not something I talk about but. I rely on my faith', implying that he is a. This was seen by Dee Hogan of as 'a refreshingly positive portrayal of people of faith, as Mack demonstrates the quiet confidence and love rather than the aggression and bigotry that's so often associated with it.'

• as Lincoln Campbell. An Inhuman with the ability to manipulate electrical charges. The character was introduced because the series already featured ' and ' but, like the, there are also Inhumans who are 'just attractive people with powers', and so Campbell represents them in the series. On casting Mitchell, Bell said 'Luke just really impressed us. [he] had a nice quality, and we felt he might be a good person to sort of usher Skye into this other world.' Campbell dies in the third season finale, making him the 'Fallen Agent' that the series had been teasing for the entire second half of that season.

The decision was made because the producers did not want 'a body count show, but it is a real world with real stakes.' A Colombian Inhuman who can move at a super speed for a beat of her heart, before returning to the point she started moving from. She reluctantly joins S.H.I.E.L.D. And becomes a part of the Secret Warriors, eventually growing close to Mack who gives her the nickname 'Yo-Yo'. When first portraying the character, Cordova-Buckley smiled whenever Rodriguez was about to use her abilities, to show an adrenaline rush and the feeling of having such power. After positive fan responses to this, the actress morphed this trait into a more mischievous personality for the character. Production [ ].

See also:,,,, and Development [ ] After purchased in 2009, they announced that a division was being formed under. In the following months, various based on comics from Marvel's catalog went into development. In July 2012, Marvel Television entered into discussions with to make a new series set in the, though at that point it was undecided what it would be. The series was described as 'a kernel of an idea' with a number of scenarios being explored, including a high-concept cop show.' The next month, it was announced that director, creator of other television shows such as and, would be involved in the series' development. In August 2012, ABC ordered a pilot for a series called S.H.I.E.L.D.

To be written and directed by Joss Whedon, with and also writing. Disney CEO greenlit the series after watching the short film.

In April 2013, ABC announced that the series would be titled Marvel's Agents of S.H.I.E.L.D., and it was officially picked up for a full season of 22 episodes in May 2013. Jed Whedon, Tancharoen, and act as the series', with Bell joining the show to help the inexperienced former pair with hiring crew members and 'navigating the politics of studios and networks', saying, 'My job is to help them learn how to do that, to steer the ship while they learn.' Joss Whedon assisted them before he started work on.

The series was renewed for a in May 2014, a in May 2015, a in March 2016, and a fifth in May 2017. In September 2016, discussing the eventual end of the series, Tancharoen said, 'You always just forge ahead. Until someone tells us to stop, we will continue to move forward.' Jed Whedon added, 'There are always ideas in the back of your mind for how you'd wrap it up when they say, 'That's it guys,' but we're not there just yet.' By May 2017, Bell noted they had 'a sense of how we'd like the show to end when it ends. We just need to know when that time is coming so we can build to it properly.'

Jed Whedon continued, 'Our goal is to know ahead of time, because we would love to land the story in a way that's satisfying'. The idea of [Coulson] as the long-suffering bureaucrat who deals with 's insufferability is delightful and hits the core of something I'm also writing about all the time—the little guy versus the big faceless organization.and that's what Clark Gregg embodies: the Everyman. —Creator Joss Whedon on the underlying themes of the series. Bell explained that he, Jed Whedon, and Tancharoen supervise all of the series' creative decisions, often consulting with Loeb. When the showrunners are writing the series, one person can write a script while the other two break stories, so that a story can be broken every few weeks. If the executive producers sign off on a story, a member of the series' writers room then produces an outline, gets notes on it from the showrunners, writes a full script, gets notes on it from ABC and the production crew, and then goes to set to produce the episode. In January 2013, Joss Whedon deflected any direct influences from other series, such as the efforts of and in, and explained that while the show would involve people with powers and the spectacle of science-fiction storytelling, it would focus on 'the peripheral people.the people on the edges of the grand adventures.'

As the series began to introduce more powered individuals, Bell noted that audiences 'seem to respond to powered people on the show and while it's not going to take over and become what the show's about, as a texture and flavor of the stories, we really enjoy that.' Jed Whedon stated that the series would continue to emphasize the general public's response to powered people, saying, 'The dynamic in the world has changed. There was one person with powers, and then by The Avengers there were maybe six total. Now they're much more prevalent, so there's reaction from the public based on that.'

On the balance between creating new material and drawing from existing mythology, Bell noted that telling stories that can entertain both Marvel fans and non-Marvel fans is challenging, and that for the series they try to add nods to the MCU films or the comics in a way that works well on its own for all viewers, but could also mean more for a fan. On where the series can draw from the comics, Jed Whedon explained that there are areas of the comics that the series is not allowed to go to, and that ultimately they only use the comics for inspiration in generating their own story. Tancharoen elaborated that, 'We're always going to be inspired and influenced by the comics, but of course on the show, we'll always be doing our spin to it.' About comparisons between the scope of the series and that of the films, Bell said that ABC and Marvel had been very generous with the series' budget, and that the production could not complain for a network series, but that it was nothing compared to the films or even series like.

He explained that the series does attempt to create 'Marvel moments' as best it can, but pointed out that some of the more memorable moments from the films are smaller, character moments—something that works really well on television—so the series strives for those when it cannot afford more scope and scale. Jed Whedon elaborated that they look at a sequence and try to keep only what is required to tell the story, so 'If a monster is landing on a car, instead of showing the whole monster leaping through the skyline, we want to be in the car with the character having that experience.' (L to R) Jed Whedon, Maurissa Tancharoen, and Jeffrey Bell, the showrunners of Agents of S.H.I.E.L.D. In September 2015, Bell looked back on the first two seasons and talked about the challenges of and changes in the series.

He noted the negative reception from fans concerning the low number of recognizable characters like Coulson, but pointed out that fans seemed to have grown to like the series' original characters as they had been developed over time. He explained that with the increasing number of characters and complex relationships in the series, having different pairings and building new emotional relationships was important, and stated that 'whether it's a quiet moment or in action, we [hope to] deepen the audience's love and concern, and hopes for these characters.' A year later he reiterated the producer's intention to create a tradition moving forward of 'finding new combinations and new conflicts' between different sets of characters, given 'a lot of procedurals [see] the same people doing the same thing for five years and the character don't evolve or change at all.' The producers and writers initially formed a general plan for the show through the end of a third season, after reading the screenplays for upcoming MCU films.

In May 2016, likened the end of the third season to 'the end of the first book of S.H.I.E.L.D. The end of something bigger and the beginning of a whole new tone for the show.' She elaborated that 'the storylines that we started at the beginning of season 1 really wrapped up at the end of season 3. We've had some major losses of people who have been with us on the show since season 1. From the table read to the first day on set, there's definitely a new energy of the show' moving forward. The series was moved to the later timeslot of 10 pm for the fourth season.

Jed Whedon said the writers hoped to 'skew a little darker because of' this change, with Loeb adding that 'It absolutely offers opportunities. I don't know that it changes things all that dramatically [though]. I mean, at the end of the day, Marvel is always going to make shows that run somewhere between PG-13 and PG-16. We're not going to be making anytime soon on [ABC].' Marvel 'had a long talk with ABC about what can we get away with, so to speak' in the new timeslot, which led to the inclusion of in the season over one of, because Marvel felt 'that this character was right to tell [darker and more violent] stories right now' and having him on S.H.I.E.L.D. Aided that because 'it was so unexpected'.

Loeb hoped that the combination of the later timeslot and the introduction of Ghost Rider would lead to some viewers who had stopped watching the series over the previous seasons giving it another chance. In May 2017, ahead of the fifth season renewal, Jed Whedon said the writers were not sure what would happen in the season, and that it would be 'by the seat of our pants.'

Casting [ ] In October 2012, a casting sheet for five lead roles was sent out. At the, Joss Whedon,, and Clark Gregg announced that Gregg would be reprising his role as agent Phil Coulson from,,, The Avengers, and the Marvel One-Shots in the pilot, and would 'headline' the series.

Actress was cast as Melinda May. The next month, and were cast as Jemma Simmons and Leo Fitz, respectively, while newcomer was cast as Grant Ward. In December, Chloe Bennet was chosen out of more than 400 actresses to play Skye, the sixth and final regular for the first season; the character is revealed in the second season to be, and no longer goes by 'Skye' starting with the third.

At 2014, was announced as cast in the role of for the second season, while the character of was revealed to be appearing. That August, joined the cast as, a recurring role, and was cast as Morse in a guest role, to first appear in the episode '. The next month, the entire first season principal cast were confirmed to be regulars for the second season, along with Blood.

Palicki joined them with the episode '. In February 2015, was cast as Lincoln Campbell, a recurring role for the second half of the season. All season two principal cast members returned for the third season, with Simmons and Mitchell joining them, promoted from their recurring roles. In October 2015, the Inhuman was introduced; for the second part of season three, he possesses the corpse of Grant Ward, again portrayed by Brett Dalton.

Also introduced were and, recurring as and, respectively. Blood and Palicki left the main cast following the season three episode ', to star in the then-planned spin-off show. Dalton and Mitchell also left following the deaths of their characters in the third-season finale. Gregg, Wen, Bennet, De Caestecker, Henstridge, and Simmons returned for the fourth and fifth seasons. They were joined by Hannah in the fourth, with Cordova-Buckley once again recurring as Rodriguez in the season, before being promoted to a series regular for the fifth season. Dalton returned as a guest during the, while Blood made his return to the series during the fifth season.

Design [ ] Costumes [ ] Betsy Heimann was the costume designer for the pilot, but left the series due to film commitments. Assistant costume designer Ann Foley took over for subsequent episodes, and worked closely with Tancharoen to create 'very strong, different characters' whose 'looks evolve along with the show.' Foley also brought on concept artists Phillip Boutte Jr. And Josh Shaw to assist with the design process. Foley watched every MCU film, paying special attention to The Avengers, and was also inspired by such films as and.

In October 2016, Foley said that she was specifically following the aesthetic of, 'So any costume has to fit inside that world we've established and has to fit that tactical look.' On the variety of costumes created for each character, Foley preferred to have set pieces in the characters' 'closets', as 'it's not a fashion show. A guy like Ward isn't going to have twenty jackets in his closet.

He is going to have one that he uses all of the time.' After reading each script, Foley would do her own research, before discussing the look of the episode with the writers.

She then studies the comics, general fashion, and history to get a look that is recognizable to fans, but fits into the more realistic world of the series. Costumes are either custom made or bought, and the actors are brought in for fittings before filming. This process was often challenging due to the series' eight-day-per-episode schedule.

Foley stated that all costumes take a similar amount of time to create, whether they are based on the comics or not. Marvel CCO is involved in the approval process when costuming preexisting characters, including Daisy Johnson's Quake costume that is introduced in the third season. The Quake costume incorporates elements from the comic version of the character, and was intended to show that Quake 'could easily be part of the '. Foley took steps to differentiate the Quake costume from 's costumes from the films, but was 'flattered' by comparisons made between them. Foley was also adamant about not sexualising characters such as Quake to show that 'these characters don't have to be sexualised, that they're powerful, strong women', and so avoided 'a lot of cleavage, you don't see high heels. It's about practicality.'

The costumes go through a natural evolution in the series. There is a shift at the end of the first season to a darker look, and all the characters have 'definitely grown up' during the second season. In the third season there is another shift, 'from the ragtag group of soldiers and scientists to [a] more precise militaristic outfit'.

This change is also reflected in the series' color palette, going from 'a much lighter tone, much more patterns' in the first season to having 'stripped away a bit of color' by the third. Despite this increasing darkness in the costumes, Foley intended to define each character as they are introduced and to have them always be recognizable and identifiable. With the start of the fourth season, Foley said that 'each season definitely has its own feel and this season will be no different. I think that you're going to see some subtle differences in the costumes of the characters'; she felt like Fitz and Simmons, in particular, had become 'more adult looking', while all the cast had 'a pretty specific. Civilian look' that would become more prominent as S.H.I.E.L.D. Is re-legitimized and becomes more public.

Foley left the series after the thirteenth episode of the fourth season, to work on a television adaptation of, and was replaced with Amanda Riley. Riley used her previous experience recreating costumes to 'blend in' with Foley's established look. Foley returned for the first two episodes of the fifth season, before handing over to Whitney Galitz, who had assisted Foley on the previous few seasons, and Christann Chanell.

Practical effects [ ] The series' department is led by Scott Bauer. The pilot introduces the Incapacitating Cartridge Emitting Railgun or ICER tranquilizer weapons often used by the agents, with Joss Whedon having Bauer design 'sci-fi' looking guns including a large rifle-like weapon. The series further portrayal of the ICERs was more subtle, with Bauer using airsoft guns that are safe to shoot others with over a small distance. ICER-specific muzzle flashes are then added by the visual effects department.

Bauer reused the ICER rifle prop when making Mack's 'Shotgun Ax', which appears in later seasons. The that unlock Inhuman abilities in the series are 3D-printed from solid resin and then altered with extra details. Additional practical effects and props are created by, who also work on the MCU films, notably creating Daisy Johnson's gauntlets for the third season. For the series is designed in conjunction with of Optic Nerve Studios. Hetrick began work on the series with the second season, to create 's Inhuman look, and returned for the third season to design and create the more 'unique'-looking Inhumans such as.

Title sequence [ ]. The new title card introduced for the third season. The third season introduces a new title sequence for the series, replacing the one that appeared in the first two seasons. The title sequence in ' is drastically different from the design introduced for the third season, with the series' title in the episode's typeface silently fading onto the screen over the back drop of the planet Simmons is stranded on. The fourth season sees new series title cards for the and pods, and an Agents of S.H.I.E.L.D. Title card for the pod that changes to say Agents of Hydra for episodes primarily set in the Framework.

The Ghost Rider graphic is used again for the fourth season finale. For the fifth season, the opening is reminiscent of the sequence for '4,722 Hours', forgoing the title card and having the typeface silently fading onto the screen. Filming [ ] Production for the pilot took place almost entirely in to accommodate Joss Whedon's schedule, while the rest of the series is primarily filmed in. Additional filming has also taken place around the world, including in, France,,, and. The series is filmed on cameras, with serving as on the pilot, and Feliks Parnell, Jeff Mygatt, and Allan Westbrook doing so throughout the rest of the series. Garry Brown is the second unit director for the series, with stunts coordinated by Tanner Gill.

The series is filmed in. Visual effects [ ] FuseFX serves as the lead visual effects vendor for Agents of S.H.I.E.L.D., with additional work by, Cosa, Greenhaus GFX, Lion VFX, and Synaptic. The series sees an average of 80 to 150 visual effects shots per episodes, with 10 to 12 days to work on the effects for one episode once background plates have been received from filming. This equates to approximately 2000 visual effects shots per season. Mark Kolpack serves as visual effects supervisor for the series.

David Altenau was the in-house supervisor at FuseFX for 'Pilot' through episode eight, with Kevin Lingenfelser taking over for subsequent episodes. VFX producer Andrea D'Amico joined the team at FuseFX to work on the series in December 2015. Two separate production management and creative teams were established to work on the show, and producers, compositors and various artists were able to alternate episodes. This was important because most of the episodes had to be worked on concurrently, either two or three at a time.

Typical effects for the series include the creation of character-driving effects animation, photo-realistic vehicles, CG set extensions, pyrotechnics, and atmospheric effects. Some assets, such as a and, are shared from, though 'those models are generally super heavy and dense with data' and need to be made 'HD friendly or simply manageable to work in [a] TV schedule.' Music [ ] confirmed that he would compose music for the series in July 2013. Unlike on some of his previous scores, ABC and Marvel allowed McCreary to work with a full symphonic orchestra, typically featuring 50 or 70 players, with over 90 for 'important' episodes. Complex synthesizer programming was also used, to give the score 'a modern edge'. Since Agents of S.H.I.E.L.D. Was the first MCU television series, McCreary felt there was 'a sense that it had to connect' to the consistent orchestra sound of the films, but viewed through a television lens.

McCreary composes on average 30 minutes of music per episode. Creating the main theme for the series, which McCreary also saw as Coulson's theme, was a process which took a lot of collaboration with the executive producers, who wanted a specific sound—'something big, that.belonged in the Marvel Cinematic Universe' but also 'intimate because these aren't superheroes, these are regular people.' McCreary had to work harder to make the theme heard, given that the show does not have a traditional title sequence. By the third and fourth seasons, McCreary noted 'the score became a little more intense and more electronically driven. [E]lectronics really moved to the forefront as we got into more stories about Inhumans and the digital world our characters inhabit. But the orchestra is always our foundation.'

In September 2014, McCreary announced that there were plans for an Agents of S.H.I.E.L.D. Soundtrack, which was released digitally a year later by on September 4, 2015, and on CD on October 9. Featuring music from the first two seasons, the soundtrack was written and produced by McCreary and Steven Kaplan, with the album produced by Joe Augustine with McCreary. All music composed by Bear McCreary. Notes next to each track indicate which episode(s) it was featured in. Track listing No. Title Length 1.

'Agents of S.H.I.E.L.D. Overture' 2:51 2. 'Showdown at Union Station' (' and ') 6:58 3. '0–8–4' (') 9:02 4.

'Rocket Launch' ('0-8-4') 3:03 5. 'The Obelisk' (') 3:56 6. 'Aftermath of the Uprising' (') 4:37 7. 'Gravitonium' (') 4:20 8. 'Cal' (') 2:42 9. 'Cello Concerto' (') 4:49 10.

'Willing to Sacrifice' (') 4:32 11. 'Alien DNA' (', ' and 'Shadows') 5:58 12. 'FZZT' (') 3:51 13.

'Garrett' (') 2:09 14. 'Hail Hydra' ('Turn, Turn, Turn') 1:47 15.

'Helicopter Rescue' ('Beginning of the End') 2:05 16. 'Terrigen Crystals' (') 4:21 17. 'The Big Bang' ('Beginning of the End') 7:05 18. 'The Rising Tide' ('Pilot') 3:46 Total length: 1:17:52 Marvel Cinematic Universe tie-ins [ ].

We're part of the Marvel Cinematic Universe, and so.we pitch our stuff to Kevin Feige and his movie group to see if there's something we can tie into, to see if they're okay about us using a character, or a weapon[, etc.] —Executive producer Jeffrey Bell in September 2014, explaining the process of working in with the MCU. In July 2013, Jed Whedon said the series would work in tandem with the Marvel films, both past and upcoming, to weave in between the films, and to 'try to make them more rewarding on both ends.' He explained that each Marvel project is intended to stand alone first before there is any interweaving, and noted that the series has to work with the film division and be aware of their plans so as not to interfere when introducing someone or something to the universe.

Bell elaborated that this was preferable so that people who do not watch the films can still follow the series, and vice versa. He stated that 'ABC and Marvel both want the series to be able to make sense on its own', but that it was beneficial for the films to have the series fill in any 'gaps' for them, due to having to be 'big' and moving 'quickly through a lot of huge pieces', unlike television which has time to deal with more nuances. In January 2016, Joss Whedon noted that this process 'unfortunately just means the TV show gets, you know, leftovers.' He stated that, for example, the series' creative team initially wanted to use 's scepter from The Avengers but were unable due to Whedon's plans for it in Age of Ultron. On how their ability to connect with the films changed over the life of the series, Jed Whedon said, 'The rule when we started was we couldn't say anything about spies, we couldn't say anything about Hydra, we couldn't have any A.I.

Or robots or anything like that, because all of that was coming in movies that year or the year after. Since then, they've blown those doors wide open.' He added, 'We have relatively free rein [in what the series can introduce and connect to]; we just can't go anywhere that [the films are] going. They know their stories so much further out than we do, which is good for us to tee up things that we know are coming to them or avoid things that they want to be special on the big screen.

As long as we are not covering bases that they're going to cover, we haven't been told 'no' that much'. As an example, Whedon noted the fourth season's Framework storyline as 'something that's pretty significant in our world, but is also a little eddy in the river that doesn't affect anything else because it's an alternate universe.

So those kinds of stories help us go big without sending ripples through the whole MCU.' The series mimics the films' with 'end tags', starting with the episode ' which features a cameo. Bell explained, 'Sometimes it'll be funny, sometimes it'll be a mythology thing. Or an extra little reveal about' the episode.

The end tag for ' is a 'directly lifted' scene from Captain America: The Winter Soldier. The series' first major tie-in episode with the wider MCU was ', which begins immediately after. The episodes 'End of the Beginning' and ' revolve around the events of Captain America: The Winter Soldier, which led to a retooling of the series. Flashback sequences in ' and ' featuring as served as marketing and set-up for the television series. The events of ' and ' led up to the opening sequence of Avengers: Age of Ultron, while ' deals with the aftermath of that film. The third season follows similar themes to the film, focusing on powered people and the different responses to them, leading up to the episode ', which takes place after the film and shows how its events affect the series' powered characters.

The episode ' introduces the alien race to the MCU, members of which play a significant role in. This begins a storyline that recurs throughout the series, and introduces Inhumans to the MCU, with Jed Whedon saying that it was something 'in the works' for a long time, as had plans for an film, and this would be 'one of the first instances where we get to start planting the seeds on the show before the film.' The third season introduces the concept of the, with new Inhuman characters inspired by the comic of the same name, while also the history of Hydra in the MCU, tying it into the Inhumans storyline. Gregg noted in January 2016 that the 'writer and director [of the Inhumans film] will have free rein to do what they want to do with the Inhumans, but hopefully there'll be some way that our Inhumans connect to that.'

When the film was removed from Marvel Studios' release schedule, Whedon noted that the series had 'a little more freedom' and were 'able to do a little bit more' with the species going into the fourth season, including the potential of introducing some of the 'classic' Inhumans., a television series centered on and other members of the, was announced in November 2016 to air on ABC in September 2017. It is not intended to be a spin-off of Agents of S.H.I.E.L.D. The fourth season explores the concept of (LMDs), which were first referenced in The Avengers, and introduces the character Ghost Rider to the MCU. On why the series waited to begin exploring LMDs, Jed Whedon said that the series previously did not want to explore the concept before the release of Avengers: Age of Ultron, which sees the introductions of and in a similar manner to LMDs. On introducing Ghost Rider, Whedon said that 'with coming out this year, the Marvel [Cinematic] Universe is moving into new waters,' referring to the exploration of magic. 'We felt that this was obviously a great character that we'd love to have on our show that we feel fits with that shift.'

The season also continues storylines from the of Agent Carter, with the reveal that the Momentum Energy Labs group is a successor to the Isodyne Energy company, with both companies connected by the parent company, a mainstay of the MCU. In August 2017, said that discussions had taken place for her to reprise her role of for the series, but there were conflicts with her starring role on the series.

Main article: By April 2015, Marvel was developing a spin-off series of Agents of S.H.I.E.L.D. The series, which was being developed by Bell and writer, would be based on storylines occurring at the end of the second season of Agents of S.H.I.E.L.D., and would receive its own pilot rather than a. Though Palicki and Blood were reportedly in final discussions to headline the potential new series, ABC passed on the project by May 7, 2015, when they announced their series renewals and cancellations, and new series pickups.

In August 2015, the spin-off series received new life as a reworked series, titled Marvel's Most Wanted, with a pilot order. Bell and Zbyszewski once again developed the series, while also serving as co-writers of the pilot, executive producers, and showrunners, with also attached as executive producer. The series would still focus on Morse and Hunter, with Palicki and Blood both attached, and was described as 'a new take focusing on the same duo and their continuing adventures.' Bell and Zbyszewski worked together on the characters' storyline for the third season of Agents of S.H.I.E.L.D., preparing them to move over to the spin-off, with Bell explaining that it would set up Most Wanted by defining exactly who the characters are, such as Hunter and his lack of loyalty to S.H.I.E.L.D. And to ideologies—'nothing specific about the show, it's just who Hunter is.'

In March 2016, Bell stated that while Hunter and Morse are 'on S.H.I.E.L.D., we want to take advantage of who they are, and give the audience as much of their relationship with one another, and with other people, as possible. We are aware that there is a potential imminent end, and so they won't be neglected.' Hunter and Morse are written off the series in the episode 'Parting Shot', both leaving S.H.I.E.L.D., as Palicki and Blood 'physically had to go leave to shoot the pilot.they had to stop being on S.H.I.E.L.D. And get ready for the pilot and then shoot the pilot and all of that, so it didn't make sense for us to have all these episodes with them and then not have them in two or three episodes, and then go, 'Oh, we were just over here,' and then come back and go away again.' On whether they could return to the series at some point, Bell said, 'I can't answer that, but I can say it would be kind of cheating to make Mack cry like that [in the episode] only to buy it back—not that we haven't brought characters back from the dead.

We want to earn stuff.' In May 2016, the spin-off series was passed on by ABC once again.

Marvel's Agents of S.H.I.E.L.D.: Slingshot [ ]. Main article: A six-part web series, Marvel's Agents of S.H.I.E.L.D.: Slingshot, was revealed on December 6, 2016, to debut on ABC.com on December 13, 2016. It follows Elena 'Yo-Yo' Rodriguez on a secret mission, shortly before the start of season four, with Cordova-Buckley reprising her role. Gregg,, Simmons, Bennet, Wen, De Caestecker and Henstridge all reprise their roles in the series as Coulson,, Mack, Johnson, May, Fitz and Simmons, respectively. Other media [ ] At the 2014, Marvel Comics announced an ongoing series titled, to be set in the mainstream Marvel Universe and written by, beginning December 2014. Featuring art by a rotating group of artists including,, and, the series is led by Agent Phil Coulson, and sees the canonical introduction of the characters Melinda May, Jemma Simmons, and Leo Fitz—who originated from the television series—to the Marvel comics universe, who Waid noted would be given 'the Marvel Universe spin.' Waid described the series as 'done-in-one.

Coulson and his team have a mission, and if we need someone for a mission, everyone in the Marvel Universe is available as a potential Agent.' Waid added that though the comic does not share events with the television series, it will maintain the characters' relationships and personalities.

Relaunched the comic as for Marvel Comics' line, and introduced the television series' character Grant Ward to the Marvel comic universe in May 2016. In September 2015, it was announced that Phil Coulson, Daisy Johnson / Quake, Deathlok, Melinda May, Bobbi Morse, Lincoln Campbell, Sif, Raina and Gordon would appear in the mobile. Their inclusion in the game was done to promote the start of the third season, as well as to allow Marvel to 'extend storylines and build on backstories to engage fans in a brand-new experience,' according to Marvel Games creative director Bill Rosemann. In March 2016, de Caestecker and Henstridge reprised their roles as Fitz and Simmons, respectively, in the episode ', of the animated series. Also in the month, Agents of S.H.I.E.L.D. Was revealed for.

The content consisted of a mission based 'on the events leading up to the season two finale', which involved facing Jiaying and Daisy in Afterlife while rescuing agents, as well as going up against Gordon and Cal Johnson who have occupied the. The content includes the playable characters Daisy Johnson, Leo Fitz, Agent Koenig, Melinda May, Bobbi Morse, Jemma Simmons, Cal Johnson / Mr. Hyde, Deathlok, Gordon, Grant Ward, Jiaying, Lincoln, and Raina, as well as the airplane 'The Bus'. Ming-Na Wen reprised her role as Melinda May to provide new dialogue for the content. References [ ].

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