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Agents of S. H. I. E. L. D. The cases are centered on Project Centipede and its leader, The Clairvoyant, while Coulson also searches for answers concerning his mysterious resurrection after dying in The Avengers. It is set in the Marvel Cinematic Universe (MCU), sharing continuity with the films of the franchise, and was produced by ABC Studios, Marvel Television, and Mutant Enemy Productions. Jed Whedon, Maurissa Tancharoen, and Jeffrey Bell served as showrunners.

That used to be the case but she doesnt make or break the show, Joc and the rest of the cast can carry the show without her. More exciting and ratchet storylines. Latest Stories. Game of Thrones' Final Season Might Not Air Until 2019 This is a bummer; Cancer-Free Kassie DePaiva Will Be Returning to Days of Our Lives DePaiva. I used to like Apryl last season, i thought she was perfect for Omari, cool, sweet, quiet and didn’t take bs, but this episode totally turned me off.I think she.

Agents of S. H. I. E. L. D. Clark Gregg reprises his role as Coulson from the film series, and is joined by principal cast members Ming- Na Wen, Brett Dalton, Chloe Bennet, Iain De Caestecker, and Elizabeth Henstridge. The main recurring setting of the season is the Bus, a retrofitted Boeing C- 1. Fuse. FX, and created with CGI. Some episodes of the season directly crossover with the films Thor: The Dark World and Captain America: The Winter Soldier, with the latter causing a major retooling of the season for its final six episodes. The season also sees several other characters from MCU films and Marvel One- Shots make guest appearances. The series premiere was watched by 1.

United States since the pilot episode of V in 2. The season, which aired on ABC from September 2. May 1. 3, 2. 01. 4, over 2.

However, reception grew more positive as the season progressed into its second half, which led to more consistent ratings. The series was renewed for a second season on May 8, 2. Jed Whedon, Tancharoen and Bell were slated to serve as the series' showrunners. In April 2. 01. 3, ABC announced that the show would be titled Marvel's Agents of S. H. I. E. L. D.. Here's an example of changing. We didn't know we were going to fall in love with Ruth Negga the way we did as Raina.

She came in for episode five but we thought 'She's cool' and so we brought her back. So what would have been somebody else became her, and as we fell in love with her character, we wrote more and more to that. Richards was going to be Deathlok but we didn't know we were going to care about him as much as we did ..

We knew the kind of person we wanted to bring in as The Clairvoyant and we knew we wanted a mislead so we brought in Victoria Hand. The fact that Bill Paxton worked out was fantastic. You're going to write that character in a certain way because of who the actor is, so that changes, but we did know we were going to introduce The Clairvoyant, that we were going to introduce he was Hydra and then use that to reveal Ward. Those were things we knew loosely.—Jeffrey Bell, executive producer, on the evolving nature of characters and story lines throughout the season. Jed Whedon said on this, .

To have it happen in the middle of your first season is an interesting kind of riddle. The writers worked to establish a . They have plans for films, and we have plans to intermingle with them, and it's the name of our show. The second to last episode is called . Now we have a chance to start them over and figure out what it's like to really be a secret again. August Richards, one of the stars of the earlier Joss Whedon series Angel, was cast in the pilot in an unspecified role. Then when he came up as an actual possibility, we couldn't believe it.

Britt was cast as Agent Triplett, an associate of Garrett. Jackson expressed interest in guest starring as S. H. I. E. L. D. One of the storyboard artists, Warren Drummond, noted the process was different to that on films, because there was limited time to complete the work, and because the storyboard artists were often working with different directors for each episode. Saturday Night Live Season 35 Episode 18 more. Most of the sequences storyboarded were action or science fiction sequences.

The Bus includes such features as a soundproof interrogation room, a forensics and research lab located on the lower deck, where Fitz and Simmons work, and a cargo hold directly outside the lab where the team parks its SUV and Lola, Coulson's prized 1. Corvette. That has to be very believable .. I think the hardest part is doing the actual stunts, the stunt- fighting.

That's a whole other thing. I'm not really punching out the stunt guy, nor are they hitting me, so it's learning this dance, really, within the fight. It's how to pull back, how to take a hit and make it look real. For instance, it was a challenge keeping Samuel L. Jackson's cameo in . Kevin Lingenfelser started the season focused on 2. D supervising, but took over as lead in- house visual effects supervisor after episode eight from David Altenau.

Two separate production management and creative teams were established to work on the show, with most of the episodes being worked on concurrently, either two or three at a time. The digital model used in the series was designed and created by Fuse. FX. For the Bus, Altenau explained that it . This includes an extra wing and engines in the rear giving the plane the ability to operate vertically for take- offs and landings, and even mid- flight u- turns .. Fuse. FX was given the opportunity to design the Bus. The design included many features from the start, such as the ability to do vertical take- offs and landing.

Fuse. FX designed the Bus, and . Half a dozen 8k maps make up the details on the plane which allows the camera to get right up to the surface of the plane without any loss of detail. A very complex rig controls every aspect of the plane from the landing gear, engine transformation, doors opening, lighting and even the wings have flex controls for the animators to sell the weight of this massive aircraft. When the engines are in vertical flight mode they have several degrees of rotation which gives the jet a lot of maneuvering ability. When Coulson needs it, the wheel's rotate into a horizontal position, exposing hidden jet engine ducts that create lifting thrust through the rims of the tires, which double as turbo- fan blades. We worked closely with production to help design the mechanism and the look of the hovercraft engines.

It's Stark technology designed to be consistent with the period aspect of the car. Occasionally, Fuse. FX was required to use a fully digital model of the car, which matches the real vehicle precisely.

It will please Marvel fans, I think. It needs to be its own thing. It needs to be adjacent .

What does S. H. I. E. L. D. And that, to me, is that they're not superheroes, but they live in that universe.

Even though they're a big organization, that . Regarding the synergy the show has with addressing events from the films, Loeb said . The characters face the Hydra issue head on, while experiencing trust issues within themselves. Jed Whedon added that the Hydra element, which the show could not mention until after the release of The Winter Soldier in order to avoid spoiling the film, also attempts to address the lack of characters from the comics, a complaint fans had throughout the season, while also tying established threats such as the Clairvoyant, Project Centipede, and Deathlok, back into Hydra.

The special included promotional footage for then unaired episodes of the season. Bell stated that the initiative was a way to tie the series back to its comics roots, and was thought of at the beginning of the season. The production team tried to pair specific artists to the teaser posters based on their previous work and how it connected to the themes and emotion of the intended episode. Jeph Loeb stated, . Bonus features included behind- the- scenes featurettes, audio commentary, deleted scenes, a blooper reel, as well as the television special, Marvel Studios: Assembling a Universe. The website's consensus reads, .

However, they also questioned whether the show was accessible enough to attract a wider audience. Though he found the main cast's performances to all be good, and praised the strong guest and recurring stars, Goldman found the main characterizations to be weak during the first half of the season, and he also criticized the pacing of certain overarching plotlines, noting . Schwartz felt that the season earned many of its early criticisms from having to .

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