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La primera temporada de la serie de televisión estadounidense Agents of SHIELD , basada en la organización de Marvel Comics SHIELD , sigue a Phil Coulson y su equipo de agentes de SHIELD en varios casos peligrosos que giran en torno al Proyecto Ciempiés y la misteriosa resurrección de Coulson tras su muerte en la película Los Vengadores ( 2012). La temporada se desarrolla en Marvel Cinematic Universe (MCU) y reconoce la continuidad de las películas de la franquicia . Fue producido por ABC Studios , Marvel Television y Mutant Enemy Productions , conJed Whedon , Maurissa Tancharoen y Jeffrey Bell actuando como showrunners .

Clark Gregg retoma su papel de Coulson de la serie de películas, y se le unen los habituales de la serie Ming-Na Wen , Brett Dalton , Chloe Bennet , Iain De Caestecker y Elizabeth Henstridge . Agents of SHIELD fue contratado por ABC para una temporada completa en mayo de 2013, y el rodaje se llevó a cabo principalmente en Los Ángeles. El principal escenario recurrente de la temporada es el Bus , un avión Boeing C-17 modernizado que fue diseñado por la compañía de efectos visuales FuseFX y creado con CGI. Algunos episodios de la temporada se cruzan directamente con las películas Thor: The Dark World (2013) yCapitán América: The Winter Soldier (2014), y este último provocó una importante remodelación de la temporada para sus últimos seis episodios. Varios otros actores también repiten sus papeles de MCU en la temporada para apariciones especiales.

La temporada se emitió en ABC desde el 24 de septiembre de 2013 hasta el 13 de mayo de 2014 y consta de 22 episodios. Su episodio piloto fue visto por 12,12 millones de espectadores, las calificaciones más altas recibidas por el primer episodio de una serie dramática desde 2009, pero las calificaciones disminuyeron a medida que avanzaba la temporada. La recepción de la crítica fue inicialmente mixta, pero se volvió más positiva en la segunda mitad de la temporada y particularmente después del cruce con The Winter Soldier . La serie se renovó para una segunda temporada en mayo de 2014. [1]

Episodios [ editar ]

Reparto y personajes [ editar ]

Principal [ editar ]

  • Clark Gregg como Phil Coulson [24]
  • Ming-Na Wen como Melinda May [25]
  • Brett Dalton como Grant Ward [26]
  • Chloe Bennet como Skye [27]
  • Iain De Caestecker como Leo Fitz [28]
  • Elizabeth Henstridge como Jemma Simmons [28]

Recurrente [ editar ]

  • J. August Richards como Mike Peterson / Deathlok [29]
  • David Conrad como Ian Quinn [30]
  • Ruth Negga como Raina [31]
  • Saffron Burrows como Victoria Hand [32]
  • Bill Paxton como John Garrett / El clarividente [33]
  • BJ Britt como Antoine Triplett [34]

Invitados notables [ editar ]

  • Cobie Smulders como Maria Hill [35]
  • Samuel L. Jackson como Nick Fury [36]
  • Titus Welliver como Felix Blake [37]
  • Maximiliano Hernández como Jasper Sitwell [38]
  • Jaimie Alexander como Sif [39]

Producción [ editar ]

Desarrollo [ editar ]

En agosto de 2012, se anunció que el director de Marvel's The Avengers , Joss Whedon , estaría involucrado en un próximo proyecto para ABC , ambientado dentro del Marvel Cinematic Universe . [40] [41] Unas semanas más tarde, ABC ordenó un piloto para un programa llamado SHIELD , escrito por Joss Whedon, Jed Whedon y Maurissa Tancharoen , dirigido por Joss Whedon y producido por Joss Whedon, Jed Whedon. Tancharoen, Jeffrey Bell y Jeph Loeb . Jed Whedon, Tancharoen y Bell estaban programados para servir como showrunners de la serie . [42][43] Joe Quesada , Alan Fine y Stan Lee también son productores ejecutivos. En abril de 2013, ABC anunció que el programa se titularía Marvel's Agents of SHIELD , [44] y se incorporó oficialmente a serie en mayo. [45] En octubre, ABC anunció que había ordenado una temporada completa de 22 episodios. [46] Después de que las calificaciones de los primeros episodios no fueran del agrado de ABC, Dan Buckley de Marvelfue a la red para solicitar que permitieran a los creativos crear el programa que querían, en lugar de intentar trabajar con notas de la red que pedían la serie para atraer a su principal audiencia demográfica, "mujeres de lujo". [47]: 7:55

Escribiendo [ editar ]

En julio de 2013, Tancharoen reveló que junto a Joss Whedon, Jed Whedon, Jeff Bell y ella misma, los escritores de la temporada incluirían a Paul Zbyszewski , Monica Owusu-Breen , Brent Fletcher , Lauren LeFranc, Rafe Judkins y Shalisha Francis. [48]

Desde el primer día, Grant Ward fue Hydra en nuestras mentes ... si sentimos que necesitábamos otras opciones, podríamos haber cambiado. He aquí un ejemplo de cambio. No sabíamos que nos íbamos a enamorar de Ruth Negga como lo hicimos como Raina . Ella vino para el episodio cinco pero pensamos 'Ella es genial' y la trajimos de regreso. Entonces, quien hubiera sido otra persona se convirtió en ella, y mientras nos enamoramos de su personaje, escribimos más y más sobre eso. Sabíamos que J. Richards iba a ser Deathlok, pero no sabíamos que nos íbamos a preocupar por él tanto como nosotros ... Sabíamos el tipo de persona que queríamos traer como The Clairvoyanty sabíamos que queríamos engañar, así que trajimos a Victoria Hand . El hecho de que Bill Paxton se ejercitara fue fantástico. Vas a escribir ese personaje de cierta manera debido a quién es el actor, así que eso cambia, pero sabíamos que íbamos a presentar The Clairvoyant, que íbamos a presentar que era Hydra y luego usar eso para revelar Pabellón. Esas eran cosas que sabíamos vagamente.

—Jeffrey Bell, productor ejecutivo, sobre la naturaleza cambiante de los personajes y las historias a lo largo de la temporada. [49]

Los arcos de los personajes fueron diseñados por el equipo creativo de la serie, con las únicas pautas de Marvel para trabajar en torno al Capitán América: El Soldado de Invierno , [50] que ve a SHIELD destruido. Jed Whedon dijo sobre esto, "si alguien te dijera ese concepto, pensarías que fue algo grandioso que sucediera al comienzo del programa o al final de la temporada 3. Que sucediera en medio de tu primera temporada es una especie de acertijo interesante ". Los escritores trabajaron para establecer un "día normal en SHIELD" y la jerarquía existente, y luego "para hacer estallar eso, sabíamos que la mejor manera de ilustrarlo era poniéndolo a un nivel personal con nuestro hombre principal Coulson". [50] Antes de la vinculación del Soldado de Invierno ,los escritores evitaron hablar deHydra excepto en términos de su historia en el MCU para evitar estropear la película. [51] : 156 Tancharoen explicó que "Vemos cómo se ve realmente que SHIELD se derrumbe en Capitán América 2 , vemos a los Helicarriers literalmente atravesando el Triskelion , vemos la destrucción masiva en toda la ciudad, pero el beneficio de nuestro espectáculo es que podemos sumergirnos en el costo emocional de eso ". [50]Por lo tanto, se decidió al comienzo de la serie que uno de los personajes principales sería un traidor, con Jed Whedon diciendo "ya que esta es una infiltración basada en la traición a gran escala, queríamos tenerla a pequeña escala, y que sea una daga realmente personal para el corazón ". [50] Los ejecutivos de ABC no creían que hacer que Grant Ward fuera el traidor funcionaría, porque sentían que Dalton era demasiado guapo para que la audiencia lo creyera real. Sintieron que los creativos deberían cambiar su elección y estaban interesados ​​en que Jemma Simmons fuera la traidora, ya que habría sido inesperado dado que era "tan dulce". [47] : 16:03Después de lidiar con la caída de SHIELD, los escritores fueron capaces de "pisar el acelerador a fondo" y pasar de las historias independientes que lo precedieron a episodios más serializados. Whedon diría más tarde que este cambio fue donde "encontramos nuestra voz en la serie después de un comienzo difícil". [52] Zbyszewski agregó que al principio de la temporada había habido resistencia por parte de la cadena de tener episodios serializados, sobre misterios individuales por episodio. [47] : 9:15

Sobre si fue idea de Marvel o del showrunner que Coulson ascendiera a Director y se le asignara la tarea de reconstruir SHIELD al final de la temporada, Jed Whedon dijo: "Son uno en [ sic ] lo mismo. Tienen planes para películas, y nosotros tenemos planes de mezclarnos con ellos, y es el nombre de nuestro programa. El penúltimo episodio se llama "Ragtag", y ese es un término que usamos; queríamos crear este grupo heterogéneo, pero dentro de esta organización gigante con miles de millones de dólares y apoyo en todo el mundo y la alimentación de satélites en su lujoso avión. Ahora tenemos la oportunidad de comenzar de nuevo y descubrir cómo es realmente volver a ser un secreto ". [50]

Casting [ editar ]

Clark Gregg encabeza la serie, repitiendo el papel de Phil Coulson en las películas de MCU.

El elenco principal de la temporada incluye a Clark Gregg como Phil Coulson , retomando su papel de la serie de películas, Ming-Na Wen como Melinda May , Brett Dalton como Grant Ward, Chloe Bennet como Skye , Iain De Caestecker como Leo Fitz y Elizabeth Henstridge. como Jemma Simmons. [24] [53]

En abril de 2013, J. August Richards , una de las estrellas de la anterior serie Angel de Joss Whedon , fue elegido para el piloto en un papel no especificado, [54] más tarde se reveló que era Mike Peterson , [53] la primera interpretación de acción en vivo. de Deathlok y un personaje recurrente a lo largo de la temporada. [55] Nicholas Brendon , otro colaborador de Whedon, también fue considerado para el papel de Richards. [56] En diciembre, dos personajes recurrentes se agregaron a la serie con el episodio " TAHITI"Fueron descritos como" un agente afroamericano que se especializa en combate / armas, y un agente SHIELD de alto nivel / experto en municiones que tiene vínculos anteriores con Coulson y Ward ". [57] En enero de 2014, Bill Paxton fue elegido como el Agente John Garrett , "un ex-cohorte rudo del Agente Coulson con un poco de actitud y fanfarronería de fumar puros", durante al menos cuatro episodios de la temporada. [58] Jed Whedon dijo que "De hecho hablamos Bill Paxton en la habitación, cuando estábamos hablando sobre el personaje ... Luego, cuando surgió como una posibilidad real, no podíamos creerlo ". [59] El mes siguiente, BJ Britt fue elegido como el Agente Antoine Triplett., socio de Garrett. [34] Otros invitados recurrentes en la temporada incluyen Saffron Burrows como Victoria Hand , [60] David Conrad como Ian Quinn , [61] y Ruth Negga como Raina . [31] [62]

En enero de 2013, Cobie Smulders , quien interpretó a la agente Maria Hill en Los Vengadores , dijo que su personaje podría aparecer en el programa y que su compromiso con Cómo conocí a vuestra madre no le impediría participar. [63] Smulders repitió el papel de Hill en el piloto , con Joss Whedon diciendo: "Quería mucho tener a Cobie en el piloto porque tanto como cualquier otra persona, ella es SHIELD" [35] Smulders regresó una vez más en el episodio. " Nada personal ". [64] En junio de 2013, Samuel L. Jacksonexpresó interés en actuar como estrella invitada como el director de SHIELD, Nick Fury , [65] y posteriormente apareció en el segundo episodio " 0-8-4 ". [36] Jackson hace una segunda aparición en el final de temporada . [66] Durante el episodio " The Well ", Chris Hemsworth aparece como Thor a través de imágenes de archivo de Thor: The Dark World . [67] [68] Maximiliano Hernández y Jaimie Alexander también repiten sus papeles cinematográficos, Jasper Sitwell y Sif , respectivamente. [38][39] Titus Welliver vuelve a interpretar el papel de Felix Blake en loscortometrajes de Marvel One-Shots . [37]

Diseño [ editar ]

Guiones gráficos [ editar ]

Los guiones gráficos se utilizaron durante toda la temporada para "poner al director, las acrobacias, la cámara, los efectos y el equipo en la misma página", aunque Joss Whedon no los utilizó para el piloto. Uno de los artistas del guión gráfico, Warren Drummond, notó que el proceso era diferente al de las películas, porque había un tiempo limitado para completar el trabajo y porque los artistas del guión gráfico a menudo trabajaban con diferentes directores para cada episodio. La mayoría de las secuencias que se incluyeron en el storyboard eran de acción o de ciencia ficción. [69]

Conjuntos [ editar ]

El principal escenario recurrente para la temporada es el Bus , un Boeing C-17 modernizado , que sirve como transporte y sede del equipo titular. El autobús incluye características tales como una sala de interrogatorios insonorizada, un laboratorio forense y de investigación ubicado en la cubierta inferior, donde trabajan Fitz y Simmons, y una bodega de carga directamente fuera del laboratorio donde el equipo estaciona su SUV y Lola, el preciado Corvette 1962 de Coulson . [70] Al diseñar el autobús, el diseñador de producción Gregory Melton comenzó con el diseño básico y la forma de un C-17, antes de ajustarlo para satisfacer las necesidades de la temporada. El conjunto interior principal no tiene muchas intrusiones, lo que permite que se vea completamente en cualquier extremo del conjunto; Esto fue solicitado por Joss Whedon, que Melton llamó "una tarea difícil" dado que necesitaba incluir el centro de mando, el salón, las habitaciones de la tripulación y la cocina. [51] : 35 La construcción de los conjuntos para el autobús ' interior s, sala de interrogatorios, y Fitz y Simmons' laboratorio, que apareció por primera vez en el piloto ya lo largo de la temporada, se inició el 6 de diciembre de 2012. [51] : 35

Entre la filmación del piloto y el inicio de la filmación de la temporada, Melton pudo modificar los decorados, como nuevos pisos y equipos para el laboratorio y accesorios de iluminación adicionales en el centro de comando. Melton explicó que debido al rápido cambio necesario para el piloto, algunos detalles tuvieron que sacrificarse hasta que se retomara la serie para la temporada. También se construyó el set de oficina de Coulson, apareciendo por primera vez en " 0-8-4 ", que se concibió como un nido de cuervos, dándole vibraciones del Capitán Nemo . [51] : 57 El nivel inferior del autobús se ve por primera vez en " Reparaciones", que Melton diseñó para ser" un área modular del avión que está llena de cápsulas ... [con las que] podemos hacer cualquier cosa ", cambiando según las necesidades del episodio. [51] : 103

Disfraces [ editar ]

Según la diseñadora de vestuario Ann Foley, los trajes de Coulson, que ella llamó "su armadura", eran más "aerodinámicos" y tenían un corte diferente a los que usaba en las películas, junto con camisas personalizadas y corbatas "más pulidas". James Bond sirvió como una inspiración temprana para los trajes de Coulson en la primera parte de la temporada, y finalmente pasó a un traje de corte delgado. Además, Foley optó por evitar los trajes negros y usó camisas sólidas, otra diferencia con los trajes que usaba en las películas. [51] : 218 A la inversa de Coulson, Ward siempre vestía de negro para lucir "sexy de protagonista" según Foley. [51] : 220 de mayo 'El traje de vuelo se basaba en otros similares de la Fuerza Aérea y presentaba "una pequeña Y"Patrón impreso en 3D que era el mismo que se usó para el disfraz de Maria Hill en Los Vengadores . [51] : 221 Para Skye, Foley quería diferenciarla de los otros personajes y buscaba ideas de diseño en blogs de estilo callejero. El guardarropa de Skye era brillante y vibrante al comienzo de la temporada, y lentamente se volvió más silencioso a medida que avanzaba la temporada para reflejar su entrenamiento de SHIELD y el tono más oscuro de la temporada. [51] : 222Foley trató de complementar los estilos de Fitz y Simmons, sin vestirlos de la misma manera. A Foley le gustaba "mezclar elementos femeninos con algunos masculinos" como los estampados florales "y los cuellos Peter-Pan con corbata y blazer". Simmons también se ve con su bata de laboratorio más que Fitz, ya que ella es la bioquímica. Con Fitz, su vestuario tiene "un poco más de herencia", con chalecos, cárdigans, corbatas, camisas a cuadros y chaquetas con parches en los codos. [51] : 224

Filmando [ editar ]

El piloto se produjo casi en su totalidad en Los Ángeles para adaptarse a la apretada agenda de Joss Whedon, [71] ocurriendo del 22 de enero al 11 de febrero de 2013. [51] : 31 La temporada reanudó la filmación el 17 de julio, [51] : 51 también se están produciendo en Los Ángeles, [72] así como en Culver City, California . [73] Se realizaron rodajes adicionales en todo el mundo, incluso en París , Francia , para "Pilot", [74] Perú para "0-8-4", [51] : 58 y en Estocolmo , Suecia., por " Eye Spy ". [72]

El coordinador de acrobacias de la temporada fue Tanner Gill. [75] En septiembre de 2013, Ming-Na Wen habló sobre acrobacias y escenas de acción de la serie y dijo: "Tengo grandes coordinadores de acrobacias y coreógrafos para ayudarme en cada paso y con la magia de la realización de películas y la edición, todo la trae consigo. habilidades, a otro nivel. Eso tiene que ser muy creíble ... Creo que la parte más difícil es hacer las acrobacias reales, las peleas de acrobacias. Eso es otra cosa. me golpean, así que es aprender este baile, en realidad, dentro de la pelea. Es cómo retroceder, cómo recibir un golpe y hacer que parezca real. [76]

Al igual que con muchos proyectos de Marvel, el secreto fue un gran problema. Por ejemplo, fue un desafío mantener el cameo de Samuel L. Jackson en " 0-8-4 " como una sorpresa debido a "esta era de tweets y spoilers". [77] Los showrunners habían estado expuestos a esto mientras trabajaban en Los Vengadores , pero con su propia serie pudieron ver "todos los detalles necesarios para mantener todo bajo llave". [50] El rodaje de la temporada concluyó el 9 de abril de 2014. [51] : 191

Efectos visuales [ editar ]

El supervisor de efectos visuales de la temporada fue Mark Kolpack, [73] con la empresa de efectos visuales FuseFX, con sede en Los Ángeles, el principal proveedor de efectos visuales. Kevin Lingenfelser comenzó la temporada centrado en la supervisión 2D, pero asumió el cargo de supervisor principal de efectos visuales después del episodio ocho de David Altenau. Se establecieron dos equipos de gestión de producción y creativos separados para trabajar en el programa, y ​​la mayoría de los episodios se trabajaron al mismo tiempo, ya sea dos o tres a la vez. [78]

El Bus es un avión de transporte C17 modificado. El modelo digital utilizado en la serie fue diseñado y creado por FuseFX.

Para el Bus , Altenau explicó que "tiene todo tipo de tecnología SHIELD que se revela con el tiempo a medida que avanza la serie. Esto incluye un ala adicional y motores en la parte trasera que le dan al avión la capacidad de operar verticalmente para despegues y aterrizajes". e incluso giros en U en pleno vuelo ... FuseFX tuvo la oportunidad de diseñar el Bus . El diseño incluía muchas características desde el principio, como la capacidad de realizar despegues y aterrizajes verticales ". FuseFX diseñó el Bus, y "Se prestó mucha atención al diseñar las texturas y el aparejo de este recurso. Media docena de mapas de 8k conforman los detalles en el avión, lo que permite que la cámara llegue directamente a la superficie del avión sin pérdida de detalles. Una plataforma muy compleja controla todos los aspectos del avión, desde el tren de aterrizaje, la transformación del motor, la apertura de puertas, la iluminación e incluso las alas tienen controles flexibles para que los animadores vendan el peso de esta enorme aeronave. Cuando los motores están en modo de vuelo vertical, tienen varios grados de rotación, lo que le da al jet una gran capacidad de maniobra ". [78]

FuseFX también trabajó en Lola, el "Corvette vintage de 1962" de Coulson, que se describió como "un automóvil clásico y hermoso por derecho propio, pero a través de efectos digitales, Fuse ha agregado capacidades de aerodeslizador. Cuando Coulson lo necesita, la rueda gira a una posición horizontal". , exponiendo los conductos ocultos del motor a reacción que crean un empuje de elevación a través de las llantas de los neumáticos, que funcionan como aspas de turboventilador. Trabajamos en estrecha colaboración con la producción para ayudar a diseñar el mecanismo y la apariencia de los motores de aerodeslizador. Es la tecnología Stark diseñada para ser consistente con el aspecto de época del coche ". [78]Cuando se muestra el Corvette real en transición a su modo de vuelo estacionario, se agregan efectos volumétricos de polvo, escape y partículas. Ocasionalmente, se requirió que FuseFX usara un modelo completamente digital del automóvil, que coincide con el vehículo real con precisión. [73]

Música [ editar ]

Además del tema principal de la serie para Coulson, Bear McCreary compuso varios otros temas que usó a lo largo de la temporada: los temas de Mike Peterson y Project: Centipede se introdujeron en "Pilot", [79] y el tema de Peterson se convirtió en "un distorsionado, versión metálica y angustiada "cuando se convierte en Deathlok; [51] : 235 se introdujo un tema para los agentes como equipo en " 0-8-4 "; [80] el tema de Skye se introdujo en " The Asset ", [81] que a lo largo de la temporada cambia de algo "sentimental y emocional" a algo "realmente agridulce, ... trágico" y heroico; [51] :235se introdujo un tema para Fitz y Simmons juntos en " FZZT "; [82] un tema para Victoria Hand y The Hub, que sirvió como tema para 'Big SHIELD', a diferencia del equipo 'little SHIELD' de Coulson, se introdujo en " The Hub "; [83] y temas individuales para cada miembro del equipo de Coulson y "el Clarividente", que cambia a John Garrett cuando se revela que es "el Clarividente". [51] : 234 McCreary sintió que los temas no eran "solo para personajes específicos" sino una forma de ayudar a "seguir el hilo narrativo a medida que los temas se trasponen de una persona a otra". [51] : 234McCreary optó por no repetir ningún tema de las películas durante la temporada, especialmente componiendo sus propios temas para Tesseract y Asgard , que reconoció que ya habían aparecido en varias películas. [80] [84] Una banda sonora con música de la primera y segunda temporadas fue lanzada por Marvel Music digitalmente el 4 de septiembre de 2015 y en CD en octubre de 2015. [85] [86]

Enlaces de Marvel Cinematic Universe [ editar ]

En junio de 2013, Clark Gregg explicó cómo la serie se relacionaría con las películas de Marvel Cinematic Universe : "... la parte emocionante será ver la forma en que Agents of SHIELD interactúa con el componente SHIELD en Captain America 2 , y el otro películas, y si esas películas afectarán nuestro programa ". [87] Joss Whedon afirmó que el programa sería autónomo de Los Vengadores , diciendo "Debe ser un programa que funcione para las personas que no han visto las películas de Marvel. Creo que complacerá a los fanáticos de Marvel". [88] Reiteró ese sentimiento en una entrevista en el Festival Internacional de Cine de Toronto de 2012., explaining "It's new characters. It needs to be its own thing. It needs to be adjacent [to The Avengers]... What does S.H.I.E.L.D. have that the other superheroes don't? 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."[89]

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;[90] the episode "T.A.H.I.T.I." introduces the alien race the Kree to the MCU (confirmed as such in the second season), members of which play a significant role in Guardians of the Galaxy;[91][92] and the episodes "End of the Beginning" and "Turn, Turn, Turn" revolve around the events of Captain America: The Winter Soldier.[93][94] Due to Captain America: The Winter Soldier revealing that Hydra had infiltrated S.H.I.E.L.D. with sleeper agents, the season sees a retooling for the final six episodes. 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 simultaneously face Hydra and a power struggle within S.H.I.E.L.D., and trust issues with each other. Jed Whedon added that that Hydra sleeper agents, which the show could not address until after the release of The Winter Soldier, was an attempt to address the lack of characters from the comics, a complaint fans had throughout the season.[95]

Marketing[edit]

Executive producers Loeb (L) and Bell (M) along with Gregg (R) at PaleyFest 2014, where the episode "End of the Beginning" was screened.

Three episodes were screened before their initial air dates: "Pilot" at San Diego Comic-Con International on July 19, 2013,[96] "Eye Spy" at New York Comic Con on October 12, 2013,[97] and "End of the Beginning" at Marvel's PaleyFest panel for the series on March 23, 2014.[98] Beginning with "T.A.H.I.T.I.", all episodes leading up to The Winter Soldier crossover were marketed as Agents of S.H.I.E.L.D.: Uprising.[99] On March 18, 2014, ABC aired a one-hour television special titled Marvel Studios: Assembling a Universe in the place of an Agents of S.H.I.E.L.D. episode. The special included promotional footage for then unaired episodes of the season.[100]

"The Art of Level Seven"[edit]

For the final six episodes, Marvel began the "Marvel's Agents of S.H.I.E.L.D.: The Art of Level Seven" initiative, in which a different image was released each Thursday before a new episode, depicting a first look at a key event from the upcoming episode. 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.[101] The art also appeared as variant covers to select titles published by Marvel Comics in August 2014. 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.H.I.E.L.D. art in a different format."[102]

The poster for "Turn, Turn, Turn", created by Mike Del Mundo, depicts a maze forming the S.H.I.E.L.D. logo and show title, with a rat inside.[101] The poster for "Providence", created by Paolo Rivera, highlights the rise of Hydra by showing a melded Hydra and S.H.I.E.L.D. logo, and depicts the team divided by Coulson, Raina, and Ward.[103] The poster for "The Only Light in the Darkness", created by Pascal Campion, focuses on Coulson and his cellist lover, Audrey, while also hinting at the villain for the episode, Marcus Daniels.[104] The poster for "Nothing Personal", created by Stephanie Hans, shows Skye and Ward with Deathlok above them and the S.H.I.E.L.D. logo in the background.[105] The poster for "Ragtag" was created by Emma Ríos is an amalgamation of Ward's life, Fitz–Simmons in danger, and Skye behind the S.H.I.E.L.D. logo.[106] The poster for "Beginning of the End", created by Phantom City Creative, recalls the first, official poster, but changes the order of the characters, their clothing, and palette. Above them is a broken S.H.I.E.L.D. logo that reveal's Hydra's, which emits light that reflects onto Ward.[107]

Release[edit]

Broadcast[edit]

Along with the premiere in the United States on ABC, the season began airing in Canada on CTV on September 24, 2013.[108] In the United Kingdom, the season debuted three days later on Channel 4,[109] while it began airing on the Seven Network in Australia on October 2, 2013,[110] and in New Zealand on TV2 on February 16, 2014.[111]

Home media[edit]

The season was released on September 9, 2014, on Blu-ray and DVD. 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.[112] On November 20, 2014, the season became available for streaming on Netflix.[113]

Reception[edit]

Ratings[edit]

As of September 30, 2013, an estimated 22.1 million viewers have watched the premiere episode in the US through live, DVR, encore, and online viewing.[136] In Canada, the premiere saw 2.706 million viewers, the third highest viewership for the week on the network.[108] In the United Kingdom, the episode debuted as the highest rated drama launch of the year,[109] averaging 3.23 million viewers including the +1 channel and recordings viewed the same night, a share of 14.8 percent of people watching TV in the UK at the time.[137] The premiere in Australia was watched by 1.3 million viewers, the top show of the night.[110] In New Zealand, the episode premiered to 326,790 viewers, the fourth highest show of the night, and the most watched show on TV2.[111] By the time the full season was picked up by ABC it ranked as the number one new series of the 2013–14 television season among adults 18–49.[46] The season averaged 8.31 million total viewers, ranking 43rd among network series. It also had an average total 18-49 rating of 3.0, which was 20th.[138]

Critical response[edit]

The review aggregator website Rotten Tomatoes reports an 88% approval rating with an average score of 7.83/10, based on 72 reviews. The website's consensus reads, "Marvel's Agents of S.H.I.E.L.D. is sure to please comic book fans, but the strong ensemble and brisk pacing help to make this better-than-average superhero show accessible to non-fanboys as well."[139] Metacritic, which uses a weighted average, assigned a score of 74 out of 100 based on 33 reviews, indicating "generally favorable reviews."[140]

(L to R) Gregg, Wen, Dalton, Bennet and De Caestecker were among those on the 2013 San Diego Comic–Con panel, where the pilot was screened to a positive crowd reaction.

The early screening of the pilot at San Diego Comic-Con International was met with a very positive reaction from the crowd.[96] Critically, the initial screening of the pilot was met with mostly positive reviews, though The New York Times' Brooks Barnes noted that "what goes over well at Comic-Con does not necessarily work in the real world," especially on a network with "Scandal moms and Dancing with the Stars grandparents".[141] Entertainment Weekly's initial reactions were that if everything that made the show appealing— its continuity with the Marvel Cinematic Universe, its continuance of The Avengers storyline, and Whedon's return to television, were stripped from it, the show would still work. However, they also questioned whether the show was accessible enough to attract a wider audience.[142]

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 ... and did a great job of capitalizing [on] it," as well as other tie-ins with the Marvel Cinematic Universe, and he praised Gregg's performance, stating "What made us fall in love with the character from the first Iron Man to his death in The Avengers is still alive and kicking"; lows of the season included the episodes before the Winter Soldier tie-in, with Valentine feeling that the series "became the show that had to stall its developments and character building to make way for the [tie-in]." He also criticized the rest of the main cast, though he did approve of the guest and supporting cast members, and he criticized the series' use of minor comic book characters and concepts, singling out the costume design for Deathlok as "horrid" and not scary.[143] Eric Goldman of IGN gave the season a 7.5 out of 10, calling it "a fun, lighthearted, but fairly disposable piece of entertainment", noting that it improved through the season, especially following the Captain America: The Winter Soldier tie-in, and that by the end of the season, the series "was starting to come into its own". 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. – moved far too slow, with relatively minor revelations treated as though they were big reveals".[144]

Jim Steranko, an artist and writer who worked on the Nick Fury: Agent of S.H.I.E.L.D. comic between 1966 and 1968, was critical of the pilot episode, lamenting that "the show had no menace, no tension."[145] For the second episode, Steranko said that it was "too unfocused to be satisfying," but praised Jackson's cameo as Nick Fury as "an electrifying reminder of what the series could and should be."[146] In contrast, Steranko's opinion of some later episodes in the first season were more positive, congratulating the writer and director of "The End of the Beginning" for "finding an entertaining, bravura groove that finally brings the concept to life",[147] and saying of the next episode "I was concerned that last week's bravura transformation was only a fluke, but it was apparent from the opening moments that the exec lineup's new image-and-edit policy was in play."[148] Overall, however, he found season one to be "22 episodes of 'sanctified' plot and character crumbs being salted with terminally-sluggish velocity (into anemic 'standalone' stories)".[149]

Analysis[edit]

Both the way the series was affected by the destruction of S.H.I.E.L.D. in Captain America: The Winter Soldier and the way its characters are depicted rebuilding the organization have been noted by some:

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.H.I.E.L.D. has turned into a fantastic show. Its connection to Marvel's Cinematic Universe is clear: This is where viewers get to see the fallout of Hydra's S.H.I.E.L.D. infiltration. 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."[150]

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." He continues saying that "what Marvel's daring to say with this season finale is "everything we do matters, and you need to pay attention to all of it." ... 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."[151]

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 ... never before has television been literally married to film, charged with filling in the back story and creating the connective tissue of an ongoing film franchise." She stated that the Captain America: The Winter Soldier crossover "infused S.H.I.E.L.D. with a new energy, and helped explain, perhaps, why the show took so long to find its footing—in the writers' room at least ... That Agents of S.H.I.E.L.D. was able to succeed as a story both independent and ancillary is all but miraculous." She concluded that the series "is now not only a very good show in its own right, it's part of Marvel's multiplatform city-state. 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."[152]

Accolades[edit]

Notes[edit]

  1. ^ The DVR gains for "Providence" were not in the top 25 for the week, and so were not reported by TV by the Numbers.[131]

References[edit]

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General references

  • "Marvel's Agents of S.H.I.E.L.D. Season 1 Episode Guide". TV Guide. Retrieved July 21, 2017.
  • "Shows A-Z - Marvel's Agents of S.H.I.E.L.D. on ABC". The Futon Critic. Retrieved July 21, 2017.

External links[edit]

  • Marvel's Agents of S.H.I.E.L.D. – list of episodes at IMDb