Peter shaffer agents of shield x

Agents of S.H.I.E.L.D.

– Marvel Television series

This article is about the television series. For the comic book, see Agents of S.H.I.E.L.D. (comic book). For the fictional organization's agents, see List of S.H.I.E.L.D. members. For the film starring David Hasselhoff, see Nick Fury: Agent of S.H.I.E.L.D. (film).

Marvel's Agents of S.H.I.E.L.D. is an American television series created by Joss Whedon, Jed Whedon, and Maurissa Tancharoen for ABC based on the Marvel Comics organization S.H.I.E.L.D.

(Strategic Homeland Intervention, Enforcement, and Logistics Division), a peacekeeping and spy agency in a world of superheroes. The series was the first to be set in the Marvel Cinematic Universe (MCU), and it acknowledges the continuity of the franchise's films and other television series. It was produced by ABC Studios, Marvel Television, and Mutant Enemy Productions, with Jed Whedon, Maurissa Tancharoen, and Jeffrey Bell serving as showrunners.

The series stars Clark Gregg as Phil Coulson, reprising his role from the film series, alongside Ming-Na Wen, Brett Dalton, Chloe Bennet, Iain De Caestecker, and Elizabeth Henstridge. Nick Blood, Adrianne Palicki, Henry Simmons, Luke Mitchell, John Hannah, Natalia Cordova-Buckley, and Jeff Ward joined in later seasons.

The S.H.I.E.L.D. agents deal with various unusual cases and enemies, including Hydra, Inhumans, Life Model Decoys, alien species such as the Kree and Chronicoms, and time travel. Several episodes directly cross over with MCU films or other television series, notably Captain America: The Winter Soldier (), which significantly affected the series in its first season, and Agent Carter (–16), from which series regular Enver Gjokaj joined the cast for the seventh season.

In addition to Gregg, other actors from throughout the MCU also appear in guest roles.

Joss Whedon, writer and director of the MCU film The Avengers (), began developing a S.H.I.E.L.D. pilot in August Gregg was confirmed to reprise his role that October, and the series was officially picked up by ABC in May The series attempted to replicate the production value of the MCU films on a broadcast television budget while also having to work within the constraints of the MCU that were dictated by Marvel Studios and the films.

Prosthetic makeup was created by Glenn Hetrick's Optic Nerve Studios, while Legacy Effects contributed other practical effects. Composer Bear McCreary recorded each episode's score with a full orchestra, and the visual effects for the series were created by several different vendors and have been nominated for multiple awards.

The series premiered on ABC in the United States on September 24, , and concluded with a two-part series finale on August 12, , with episodes broadcast over seven seasons.

After starting the first season with high ratings, the ratings began to drop. Ratings continued to fall with subsequent seasons, but were more consistent within each season, while reviews for all seasons were consistently positive. Several characters created for the series have since been introduced to the comic universe and other media. An online digital series, Agents of S.H.I.E.L.D.: Slingshot, centered on Cordova-Buckley's Elena "Yo-Yo" Rodriguez, was released in December on Other spin-offs were planned but never materialized.

Premise

The first season follows S.H.I.E.L.D. agent Phil Coulson as he puts together a small team of agents to handle strange new cases.[1] They investigate Project Centipede and its leader, "The Clairvoyant", eventually uncovering that the organization is backed by the terrorist group Hydra, which has infiltrated S.H.I.E.L.D.

In the second season, following the destruction of S.H.I.E.L.D.

Peter shaffer agents of shield 2 Marvel's Agents of S.H.I.E.L.D. is an American television series created by Joss Whedon, Jed Whedon, and Maurissa Tancharoen for ABC based on the Marvel Comics organization S.H.I.E.L.D. (Strategic Homeland Intervention, Enforcement, and Logistics Division), a peacekeeping and spy agency in a world of superheroes.

in Captain America: The Winter Soldier (), Coulson becomes director of the organization and is tasked with rebuilding it while dealing with Hydra, a faction of anti-superhuman S.H.I.E.L.D. agents, and a newly-revealed superhuman race called the Inhumans.[2][3]

In the third season, Coulson begins a secret mission to assemble the Secret Warriors, a team of Inhumans,[4][5] as Hydra restores its ancient Inhuman leader Hive to power.[6] After the defeat of Hive and Hydra, S.H.I.E.L.D.

is made a legitimate organization once again with the signing of the Sokovia Accords. In the fourth season, Coulson returns to being a field agent so S.H.I.E.L.D. can have a public leader, and is tasked with tracking down more enhanced people, including Robbie Reyes / Ghost Rider. In addition, Agent Leo Fitz and Holden Radcliffe complete their work on the Life Model Decoy and Framework virtual reality projects.[7]

The fifth season sees Coulson and members of his team abducted to the space station Lighthouse in the year , where they must try to save the remnants of humanity while figuring out how to get home.[8] After returning to the present, where they are labeled fugitives, Coulson and his team work to prevent the future that they saw.[9] They succeed in defeating a Gravitonium-powered Glenn Talbot, but Coulson dies due to his interactions with Ghost Rider in the previous season.[10]

In the sixth season, the S.H.I.E.L.D.

agents are divided into two groups: one heads to space to find Fitz, who is lost following the last season's time-traveling,[11][12] while the other remains on Earth to face a team of mercenaries led by Sarge, a man that looks just like Coulson.[11][12][13] The seventh and final season finds the team, including a Life Model Decoy of Coulson,[14] jumping throughout time to prevent the Chronicoms from establishing Earth as their new home, Chronyca-3, and eradicating S.H.I.E.L.D.

from history.[15][16]

Episodes

Further information: List of Agents of S.H.I.E.L.D. episodes

Cast and characters

Main article: List of Agents of S.H.I.E.L.D. characters

  • Clark Gregg as Phil Coulson and Sarge / Pachakutiq:
    Coulson is an agent of S.H.I.E.L.D., and later becomes the organization's director.[22] In April , Gregg agreed to join the series after hearing creator Joss Whedon's explanation for Coulson's resurrection, following the character's death in The Avengers, which he called "fascinating" and "true to the world of the comics".[23] Gregg approached Coulson's promotion to director as getting his dream job, which at the same time forced the character to adopt a more level-headed attitude, like that of Nick Fury.[24] After being possessed by the Spirit of Vengeance in the fourth season finale, the Kree blood that resurrected Coulson is burned away and he ultimately dies following the fifth-season finale.[10] Gregg plays a new character, Sarge, in season six,[13] and portrays a Chronicom-enhanced Life Model Decoy version of Coulson in season seven.[14]
  • Ming-Na Wen as Melinda May:
    Joss Whedon had the character, a S.H.I.E.L.D.

    ace pilot and weapons expert, nicknamed "the Cavalry",[25] and originally listed with the name Agent Althea Rice on casting sheets,[26] "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;[27] with May's past revealed in "Melinda", 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."[28] Wen called May "unconventionally maternal",[29] and said that it is her relationship with Coulson that makes her stay at S.H.I.E.L.D., despite her past.[30]

  • Brett Dalton as Grant Ward and Hive:
    Ward is a Hydra agent who poses as a S.H.I.E.L.D.

    black ops specialist.[31][32] From the conception of the series it was decided that he would be a traitor. Jed Whedon explained 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 revelation more personal for the characters.[33][34] Dalton felt that Ward was always more loyal to his Hydra superior John Garrett than to Hydra itself, and that he would become more of a wildcard after Garrett's death, though still an antagonist to S.H.I.E.L.D.[35][36] Ward is killed by Coulson in season three,[37] and his body is possessed by an ancient Inhuman, Hive.[6] Hive is killed in the season three finale.

    Dalton returned to the series in its fourth season to portray Ward in the virtual reality Framework, where he is Johnson's boyfriend.[38] Austin Lyon portrays a young Ward.[39]

  • Chloe Bennet as Skye / Daisy Johnson / Quake:
    An Inhuman S.H.I.E.L.D. agent with the ability to manipulate vibrations and create earthquakes.[3][26] The character of Skye was always intended to become the MCU version of Johnson, having consequences for the character's relationships with the other S.H.I.E.L.D.

    agents, especially Coulson.[40] Bennet felt that the character was someone who would wear her heart on her sleeve while having some control over her emotions.[41] 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.[29] In the third season she no longer goes by "Skye" and gains the public name "Quake".[42][43]

  • Iain De Caestecker as Leo Fitz:
    An agent of S.H.I.E.L.D.

    who specializes in engineering, especially weapons technology.[26][44] De Caestecker described the character as "quite passionate about what he does" but not emotionally intelligent.[45] Fitz has a close relationship with Simmons; De Caestecker says they "just kind of fit each other in a very weird way."[46] The character sustains brain injuries at the end of the first season.

    Peter shaffer agents of shield Agents of S.H.I.E.L.D. is an American television series created for ABC by Joss Whedon, Jed Whedon, and Maurissa Tancharoen, based on the Marvel Comics organization S.H.I.E.L.D. (Strategic Homeland Intervention, Enforcement and Logistics Division), a fictional peacekeeping and spy agency in a world of superheroes. [1].

    The writers researched 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 we just have to constantly be respectful towards it."[47]

  • Elizabeth Henstridge as Jemma Simmons:
    A S.H.I.E.L.D.

    biochemist who specializes in life sciences (both human and alien).[26][44] Henstridge described her character as "intelligent and focused and curiousshe's got a wonderful relationship with Fitz. They kind of bounce off each other."[48] 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" since they have been nearly inseparable since first meeting.[49] On the harsher side of Simmons seen in later seasons, Henstridge noted that the character has "always been very mathematical in a way".[44] Simmons is "profoundly" changed after being trapped on the planet Maveth for six months.[50]

  • Nick Blood as Lance Hunter:
    A mercenary before agreeing to join S.H.I.E.L.D.[51] Blood described Hunter as someone who "doesn't bow down to the etiquette of the S.H.I.E.L.D.

  • Peter Schaffer, prominent Denver sports agent, stars in new ...
  • Clear
  • Agents of S.H.I.E.L.D. - Wikipedia
  • SHIELD Agent Peter Parker - Works | Archive of Our Own
  • Patton Oswalt - Marvel Cinematic Universe Wiki

    • hierarchy."[52] 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 titlesIf 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'".[53]

  • Adrianne Palicki as Bobbi Morse:
    Hunter's ex-wife and an agent of S.H.I.E.L.D.

    who spent time undercover within Hydra.[54] Palicki was approached by the showrunners specifically for the part during season two. Palicki already had martial arts and gun training but had to learn to use the character's signature arnis sticks; she noted similarities between Morse's fighting style and that of Scarlett Johansson's Black Widow from the MCU films.[55] Showrunner Jeffrey Bell said the character is 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.[56]

  • Henry Simmons as Alphonso "Mack" Mackenzie:
    A S.H.I.E.L.D.

    mechanic with a distrust of the alien and superhuman.[57] Simmons said the character is more worried about contributing in his own way and getting his job done away from the field.[58] Mack does not like violence, but does "what he has to do."[59] Mack reveals in the third season that he relies on his "faith", implying that he is a Christian.[60] Dee Hogan of The Mary Sue described this 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."[61] Mack becomes the new director of S.H.I.E.L.D.

    in season six.[62]

  • Luke Mitchell as Lincoln Campbell:
    An Inhuman with the ability to manipulate electrical charges.[63] The character was introduced because the series already featured "a guy with no eyes" and "a woman who now is covered in thorns" but, like the X-Men, there are also Inhumans who are "just attractive people with powers", and so Campbell represents them in the series.[64] Campbell dies in the third-season finale,[43] making him the "Fallen Agent" that the series had been teasing for the entire second half of that season.[65][66] The decision was made because the producers did not want "a body count show, but it is a real world with real stakes."[67]
  • John Hannah as Holden Radcliffe:
    A transhumanist who believes in the improvement of humanity through enhancement.[68][69] Radcliffe initially worked with Hive before joining S.H.I.E.L.D., where he begins work on transferring his artificial intelligenceAIDA to a Life Model Decoy, an old S.H.I.E.L.D.

    project.[70]

  • Natalia Cordova-Buckley as Elena "Yo-Yo" Rodriguez:
    A Colombian Inhuman who can move at super speed for a beat of her heart, before returning to the point she started 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".[71][72] 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.[73]

  • Jeff Ward as Deke Shaw: A "roguish scavenger" on the Lighthouse space station in the year ,[74] who returns to the present with the S.H.I.E.L.D. team and learns he is the grandson of Fitz and Simmons.[75]

Production

See also: Production of season 1, season 2, season 3, season 4, season 5, season 6, and season 7

Development

After The Walt Disney Company purchased Marvel Entertainment in ,[76] they announced that a Marvel Television division was being formed under Jeph Loeb.[77][78] In the following months, various pilots based on comics from Marvel's catalog went into development.[79][80] In July , Marvel Television entered into discussions with Disney-owned ABC to make a new series set in the Marvel Cinematic Universe (MCU).

The series was described as "'a kernel of an idea' with a number of scenarios being explored, including a high-concept cop show."[81] On August 7, , Joss Whedon was announced to be involved in the series' development. Whedon had written and directed the successful MCU film The Avengers ().[82] On August 8, Whedon, along with his brother Jed and sister-in-law Maurissa Tancharoen, met with Loeb to pitch him their idea for the series, with meetings in the following days with ABC Studios and ABC network.[83][84]:&#;&#; At the end of August, ABC ordered a pilot for a series called S.H.I.E.L.D., to be written and directed by Joss Whedon, with Jed Whedon and Tancharoen also writing.[85][86] Disney CEO Bob Iger greenlit the series after watching the Marvel One-Shot short film Item 47.[87]

In April , ABC announced that the series would be titled Marvel's Agents of S.H.I.E.L.D.,[1] and it was officially picked up for a full season of 22 episodes in May [87][88] Jed Whedon, Tancharoen, and Jeffrey Bell served as the series' showrunners,[85] 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 sequel Avengers: Age of Ultron ().[34] The series was renewed for a second season in May ,[89] a third in May ,[90] and a fourth in March [91]

In September , 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."[92] A fifth season was ordered in May ,[93] and Bell said 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".[94] The writers intended for the final episode of the fifth season to serve as both a season and series finale, with some elements that could be adjusted based on whether the series was renewed for a sixth season or not.

Whedon added, "we're ready for if this is the end. We're definitely going to make it rewarding either way."[95] Despite this, the series was renewed for a sixth season in May ,[96] and a final seventh season in November [97][98] Whedon likened these two seasons to bonus levels in a video game, allowing the writers to have "a bit of freedom".[99]

Writing

The idea of [Coulson] as the long-suffering bureaucrat who deals with Tony Stark'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 organizationand 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.[34]

In January , Joss Whedon deflected any direct influences from other series, such as the efforts of Fox Mulder and Dana Scully in The X-Files, and explained that while the show would involve people with powers and the spectacle of science-fiction storytelling, it would focus on "the peripheral peoplethe 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 Game of Thrones.

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."[33]

(L to R) Jed Whedon, Maurissa Tancharoen, and Jeffrey Bell, the showrunners of Agents of S.H.I.E.L.D.

Actress Ming-Na Wen attributed the time slot shift between the first and second seasons (from 8&#;pm EST to 9&#;pm EST) for allowing the writers "a chance to be more serious with certain topics, a little bit more intense with the fight scenes" in the second season, since the first season had to be more reserved because of it airing during a family time slot.[] In September , 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 , Chloe Bennet 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.

  • Peter shaffer agents of shield plus
  • Peter shaffer agents of shield tv
  • Peter shaffer agents of shield x

    • 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 and PG We're not going to be making Deadpool 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 Ghost Rider in the season over one of Marvel's Netflix television series, 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.[]

    Casting

    Sarah Halley Finn, the casting director of the MCU films, along with her associate Tamara Hunter, served as casting directors during the first season.[]:&#;21&#; In October , a casting sheet for five lead roles was sent out,[26] with Finn establishing offices in London, Australia, New York, Vancouver, Toronto, and Los Angeles to audition actors.[]:&#;21&#; At the New York Comic Con, Joss Whedon, Kevin Feige, and Clark Gregg announced that Gregg would be reprising his role as agent Phil Coulson from Iron Man (), Iron Man 2 (), Thor (), The Avengers, and the Marvel One-Shots in the pilot,[22] and would "headline" the series.[] Also in October, actress Ming-Na Wen was cast as Melinda May.[25] The next month, Elizabeth Henstridge and Iain De Caestecker were cast as Jemma Simmons and Leo Fitz, respectively,[44] while newcomer Brett Dalton was cast as Grant Ward.[] Dalton gained 15 pounds (&#;kg) of muscle before the start of filming for the role.[]:&#;21&#; In December, Chloe Bennet was chosen out of more than actresses to play Skye, the sixth and final regular for the first season.[][] Bell called the character "the hardest to find" since need to be "the quintessential Whedon heroine–strong, smart, and self-aware", which was difficult to find in a year old.[]:&#;25&#; Skye is revealed in the second season to be Daisy Johnson, and no longer goes by "Skye" starting with the third.[42]

    At the San Diego Comic-Con, Nick Blood was announced as cast in the role of Lance Hunter for the second season, while the character of Bobbi Morse was revealed to be appearing.[51] That August, Henry Simmons joined the cast as Alphonso "Mack" Mackenzie, a recurring role,[57] and Adrianne Palicki was cast as Morse in a guest role, to first appear in the episode "A Hen in the Wolf House".[] 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 "Aftershocks".[54][] In February , Luke Mitchell 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,[4] with Simmons and Mitchell joining them, promoted from their recurring roles.[63][] In October , the Inhuman Hive was introduced; for the second part of season three, he possesses the corpse of Grant Ward, again portrayed by Brett Dalton.[6] Also introduced were Natalia Cordova-Buckley and John Hannah, recurring as Elena "Yo-Yo" Rodriguez and Holden Radcliffe, respectively.[68][71] Blood and Palicki left the main cast following the season-three episode "Parting Shot", to star in the then-planned spin-off show Marvel's Most Wanted.[] Dalton and Mitchell also left following the deaths of their characters in the third-season finale.[67]

    Gregg, Wen, Bennet, De Caestecker, Henstridge, and Simmons returned for the fourth and fifth seasons.[7][] They were joined by Hannah in the fourth,[69] with Cordova-Buckley once again recurring as Rodriguez in the season,[] before being promoted to a series regular for the fifth season.[72] Dalton returned as a guest during the third pod of the fourth season,[38] while Blood returned for an episode of the fifth season.[] Introduced in the fifth season was Jeff Ward, who recurred as Deke Shaw.[74]

    Wen, Bennet, De Caestecker, Henstridge, Simmons, and Cordova-Buckley return for the sixth and seventh seasons, and were joined by Ward.[75][97] Given the events of the final episode of season five, in which it is implied that Coulson dies, Gregg noted "there is some interest in having me involved in" the sixth season, potentially with flashback, and was also unsure if he would be a series regular, should he return, as he had been for the previous five seasons.[] Gregg ultimately returned as a series regular in season six playing a new character, Sarge.[13] For season seven, Gregg portrays a Life Model Decoy (LMD) version of Coulson,[14] while De Caestecker is absent for much of the season due to scheduling conflicts with prior commitments,[][] first appearing in the season's eleventh episode;[] he is credited as a special guest star for his appearances in the season.[]

    Design

    Costumes

    Betsy Heimann was the costume designer for the pilot, but left the series because of 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 Skyfall () and Mission: Impossible – Ghost Protocol ().[] In October , Foley said that she was specifically following the aesthetic of Captain America: The Winter Soldier (), "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 studied 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 because of 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 Joe Quesada is involved in the approval process when costuming preexisting characters,[] including Daisy Johnson's Quake costume, which 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 Avengers".[][] Foley took steps to differentiate the Quake costume from Scarlett Johansson's Black Widow costumes from the films, but was "flattered" by comparisons made between them.

    Foley was also adamant about showing that characters such as Quake "don't have to be sexualized, that they're powerful, strong women", and so avoided "a lot of cleavage, you don't see high heels.

    Peter shaffer agents of shield hero Agents of S.H.I.E.L.D.: Created by Maurissa Tancharoen, Jed Whedon, Joss Whedon. With Clark Gregg, Ming-Na Wen, Chloe Bennet, Elizabeth Henstridge. The missions of the Strategic Homeland Intervention, Enforcement and Logistics Division.

    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 the television series Altered Carbon,[] 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 costume design over to Whitney Galitz, who had assisted Foley on the previous few seasons, and Christann Chanell.[] Galitz eventually became sole costume designer for the series, before being joined by Jessica Torok during season seven.

    Torok took over for the second half of the season after Galitz left the series to give birth to her daughter.[]

    Practical effects

    The series' props department is led by Scott Bauer. The pilot introduces the Incapacitating Cartridge Emitting Railgun, or I.C.E.R., 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 I.C.E.R.s was more subtle, with Bauer using airsoft guns that are safe to shoot others with over a small distance. I.C.E.R.-specific muzzle flashes are then added by the visual effects department. Bauer reused the I.C.E.R. rifle prop when making Mack's "Shotgun Ax", which appears in later seasons.

    The terrigen crystals that unlock Inhuman abilities in the series are 3D-printed from solid resin and then altered with extra details.[] Additional practical effects and props were created by Legacy Effects, which also works on the MCU films,[][] notably creating Daisy Johnson's gauntlets for the third season.[]Prosthetic makeup for the series is designed in conjunction with Glenn Hetrick of Optic Nerve Studios.

    Peter shaffer agents of shield series

    Agents of S.H.I.E.L.D.: Created by Maurissa Tancharoen, Jed Whedon, Joss Whedon. With Clark Gregg, Ming-Na Wen, Chloe Bennet, Elizabeth Henstridge. The missions of the Strategic Homeland Intervention, Enforcement and Logistics Division.

    Hetrick began work on the series with the second season, to create Raina's Inhuman look,[] and returned for the third season to design and create the more unusual-looking Inhumans such as Lash.[]

    Title sequence

    Throughout the series, Agents of S.H.I.E.L.D. "[became] known for its signature use of changing title cards" to reflect the storyline being told and would define "a specific era of the series".[] 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 "4, Hours" 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 Ghost Rider and LMD pods,[][] and an Agents of S.H.I.E.L.D. title card for the Agents of Hydra 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 of "Orientation" is reminiscent of the sequence for "4, Hours", forgoing the title card and having the typeface silently fading onto the screen.[] The subsequent episodes of season five feature a title card with the series name in a new typeface against a backdrop of various depictions of Earth: episodes through "Past Life" feature a destroyed future Earth;[] episodes from "Principia" through "The Devil Complex" feature a present Earth; while episodes from "Rise and Shine" through "All Roads Lead" feature the Earth beginning to crack.[] Each episode of season seven features a different title card and opening to reflect the time period and genre of the episode.[]

    Filming

    Production for the pilot took place almost entirely in Los Angeles to accommodate Joss Whedon's schedule,[] while the rest of the series is primarily filmed at Culver Studios in Culver City, California.[][] Additional filming has also taken place around the world, including in Paris, France,[]Stockholm, Sweden,[] and Old San Juan, Puerto Rico.[]Agents of S.H.I.E.L.D. used the working titleR.A.G.T.A.G. throughout its production.[] The series is filmed on Arri Alexa cameras,[] with David Boyd serving as director of photography 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 2K resolution.[]

    Visual effects

    FuseFX serves as the lead visual effects vendor for Agents of S.H.I.E.L.D.,[] with additional work by Pixomondo, CoSA VFX, Greenhaus GFX, Lion VFX, and Synaptic.[] The series sees an average of 80 to visual effects shots per episode,[] 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 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 [] 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 Quinjet and Helicarrier, are shared from Industrial Light & Magic, 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

    Bear McCreary confirmed that he would compose music for the series in July [] 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.[] Orchestra recording for the series occurred at Warner Bros.

    Studios' Eastwood Stage, Sony Pictures Studios' Barbra Streisand Scoring Stage, and Twentieth Century Fox Studios' Newman Scoring Stage.[] 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 that took a lot of collaboration with the executive producers, who wanted a specific sound—"something big, thatbelonged 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 , after working as an intern for McCreary, Jason Akers was asked to provide additional music for the series. McCreary hired Akers as a full time staff member in , and he began to have more artistic input into the series' music. Akers is credited as co-composer alongside McCreary for the seventh season.[][] Some of McCreary's favorite pieces from the series included "Cello Concerto" from "The Only Light in the Darkness", and pieces that had "massive deviations" such as music for Ghost Rider, the Framework reality, and going to outer space.[84]:&#;–&#;

    Original soundtrack album

    In September , 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 Marvel Music on September 4, , 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.[]Steve Bartek plays guitar on "Aftermath of the Uprising", Eric Byers plays cello on "Cello Concerto",[] and McCreary's wife, Raya Yarbrough, provides the vocals in "Alien DNA".[] The episode column in the table below indicates which episode(s) the music was featured in.[]

    TitleEpisode(s)
    1."Agents of S.H.I.E.L.D.

    Peter shaffer agents of shield plus: Agents of S.H.I.E.L.D. is an American television series created for ABC by Joss Whedon, Jed Whedon, and Maurissa Tancharoen, based on the Marvel Comics organization S.H.I.E.L.D. (Strategic Homeland Intervention, Enforcement and Logistics Division), a fictional peacekeeping and spy agency in a world of superheroes. [1].

    Overture"

    		&#;
    2."Showdown at Union Station""Pilot" and "The Bridge"
    3.""""
    4."Rocket Launch"""
    5."The Obelisk""Shadows"
    6."Aftermath of the Uprising""Turn, Turn, Turn"
    7."Gravitonium""The Asset"
    8."Cal""One of Us"
    9."Cello Concerto""The Only Light in the Darkness"
    "Willing to Sacrifice""Shadows"
    "Alien DNA""The Well", "Beginning of the End", and "Shadows"
    "FZZT""FZZT"
    "Garrett""T.A.H.I.T.I."
    "Hail Hydra""Turn, Turn, Turn"
    "Helicopter Rescue""Beginning of the End"
    "Terrigen Crystals""Scars"
    "The Big Bang""Beginning of the End"
    "The Rising Tide""Pilot"
    Total length:

    Future albums

    Regarding the release of additional music from the series, McCreary said in August there were no immediate plans but would "love for that to happen", given he had been waiting until the series concluded to assess everything that had been produced for any potential future releases.

    He also hoped to get fan input regarding pieces of music they would like to hear on a release in addition to the tracks McCreary would want.[84]:&#;–&#;

    Marvel Cinematic Universe tie-ins

    We're part of the Marvel Cinematic Universe, and sowe 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 , explaining the process of working in with the MCU.[34]

    In July , 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 , 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 Loki'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."[94] In May , Chloe Bennet complained that Marvel did not acknowledge Agents of S.H.I.E.L.D. in their film universe, despite pretending that the films and televisions series were all connected; she expressed interest in seeing the Avengers in the series.[]

    The series mimics the films' post credits scenes with "end tags", starting with the episode "" which features a Samuel L.

    Jackson cameo as Nick Fury. 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 "End of the Beginning" is a "directly lifted" scene from Captain America: The Winter Soldier