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Season 16 Episode Serie: MasterChef Australia. Serie: I May Destroy You. Serie: Diesel Brothers. Serie: Big Brother Australia. The pilot was produced almost entirely in Los Angeles to accommodate Joss Whedon's busy schedule. The stunt coordinator for the season was Tanner Gill.

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. As with many Marvel projects, secrecy was a big issue. For instance, it was a challenge keeping Samuel L.

Jackson's cameo in " " a surprise due to "this age of tweets and spoilers". The visual effects supervisor for the season was Mark Kolpack, [70] with Los Angeles-based visual effects company FuseFX the main visual effects vendor. Kevin Lingenfelser started the season focused on 2D 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. For the Bus, Altenau explained that it "has all kinds of S. 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 FuseFX 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". FuseFX designed the Bus, and "Extreme attention was paid when designing the textures and rigging for this asset.

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.

FuseFX also worked on Lola, Coulson's "vintage Corvette" which was described as "a classic car and beautiful in its own right, but through digital effects, Fuse has added hovercraft capabilities. 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, FuseFX was required to use a fully digital model of the car, which matches the real vehicle precisely. In addition to the series' main theme for Coulson, Bear McCreary composed several other themes that he used throughout the season: themes for Mike Peterson and Project: Centipede were introduced in "Pilot"; [76] a theme for the Agents as a team was introduced in " "; [77] the Skye theme was introduced in " The Asset "; [78] a theme for both Fitz and Simmons together was introduced in " FZZT "; [79] a theme for Victoria Hand and The Hub, which served as the theme for 'Big S.

It will please Marvel fans, I think. It needs to be its own thing. It needs to be adjacent [to The Avengers ] What does S. And that, to me, is that they're not superheroes, but they live in that universe. Even though they're a big organization, that [lack of powers] makes them underdogs, and that's interesting to me.

Ultimately, the season featured several tie-in episodes with Marvel Cinematic Universe films: the episode "The Well" takes place directly after the events of Thor: The Dark World ; [87] the episode "T. Regarding the synergy the show has with addressing events from the films, Loeb said "It's an extremely unique experience that doesn't exist anywhere else out there in the entertainment business". 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. For the final six episodes, Marvel began the " Marvel's Agents of S. 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, "It's exciting to bring this art to life once more, exclusively at comic book stores, and to give fans a chance to own the Marvel's Agents of S. 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.

As of September 30, , an estimated It also had an average total rating of 3. The website's consensus reads, " Marvel's Agents of S. The early screening of the pilot at San Diego Comic-Con International was met with a very positive reaction from the crowd. However, they also questioned whether the show was accessible enough to attract a wider audience. Evan Valentine, writing for Collider, divided the season into highs and lows: highs included the Captain America: The Winter Soldier crossover, with Valentine noting that "The creators had clearly known this moment was coming 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 "the mystery of Coulson's return, Skye's parentage, etc.

Both the way the series was affected by the destruction of S. Terri Schwartz, writing for Zap2it following the airing of "Nothing Personal", called the series "incredible", stating that it "got off to a rocky start", but that changed once the Winter Soldier tie-in took place. Schwartz felt that the season earned many of its early criticisms from having to "bide time" until the crossover, but "Now that it has the freedom to be the series it was always intended to, Marvel's Agents of S.

And the fact that the movie so influenced the show is game-changing in terms of how the mediums of film and television can be interwoven. Merrill Barr, reviewing "Beginning of the End" for Forbes , reiterated this sentiment, stating that "the series finally stands its ground and stakes its claim as a member of the Marvel Cinematic Universe By establishing world changing consequences that don't just affect one MCU franchise, but all of them.

It's been a long journey, and there's no question many viewers' patience wore thin toward the end, but that never stopped Marvel from pushing forward to one of the most entertaining hours of television this season and finally cementing a deserved place on the small screen. Mary McNamara of the Los Angeles Times felt that the series "created a whole new sort of television show: One that must support, and change with, the plot twists of its film family That Agents of S.

It faces a future of perpetual re-invention, and that puts it in the exhilarating first car of television's roller-coaster ride toward possible world domination. From Wikipedia, the free encyclopedia. Season 1 Promotional poster and home media cover art. Main article: List of Agents of S. Recurring [ edit ] J. Britt as Antoine Triplett [34]. From day one [Grant Ward] was Hydra in our minds 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. We knew J. 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. Entertainment Weekly. Archived from the original on May 9, Retrieved May 8, TV by the Numbers. Archived from the original on August 20, Retrieved September 26, Archived from the original on September 1, Retrieved October 2, Archived from the original on October 11, Retrieved October 10, Archived from the original on October 20, Retrieved October 16, Archived from the original on October 26, Retrieved October 23, Archived from the original on November 7, Retrieved November 6, Archived from the original on November 14, Retrieved November 13, Archived from the original on November 23, Retrieved November 20, You must be logged in to post a comment.

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