The Marvel's Agents of S.H.I.E.L.D. Season 1 full episode guide offers a synopsis for every episode in case you a missed a show. Browse the list of episode titles to find summary recap you need to. Watch Marvel's Agents of S.H.I.E.L.D. Season 6 Episode 1 Missing Pieces online now. Get the full Missing Pieces episode, streaming & free, on Yidio. TVGuide has every full episode so you can stay-up-to-date and watch your favorite show Marvel's Agents of S.H.I.E.L.D. Anytime, anywhere. Agents of SHIELD. Season 1, Episode 17.

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After Agent Coulson and the team escaped the Framework and awakened back in the real world, they battled L.M.D. (Life Model Decoy) AIDA who had become fully human – and given herself multiple Inhuman abilities. After defeating AIDA with the help of Ghost Rider, the team went to a diner to celebrate but were interrupted by a mysterious man who rendered them frozen. Later, Coulson woke up onboard a station.

Coulson will discover that some, but not all, of his S.H.I.E.L.D. Colleagues were taken with him and placed onboard a space station. As they come into contact with the vessel's inhabitants, it becomes abundantly clear that something has gone terribly awry. The team must figure out their role, delving deeper into this nightmarish mystery to try to right what has gone incredibly wrong.

Next → The first season of the American television series, which is based on the organization (Strategic Homeland Intervention, Enforcement and Logistics Division), revolves around the character of and his team of S.H.I.E.L.D. Agents, who are assigned to several dangerous cases. The cases are centered on and its leader, while Coulson also searches for answers concerning his mysterious resurrection after dying in.

It is set in the (MCU), sharing continuity with, and was produced by, and., and served as. Agents of S.H.I.E.L.D. Was picked up for a full season by ABC in May 2013, and filming took place primarily in Los Angeles. Reprises his role as Coulson from the film series, and is joined by principal cast members, and. The main recurring setting of the season is the Bus, a retrofitted plane that was designed by visual effects company FuseFX, and created with CGI. Some episodes of the season directly with the films and, with the latter causing a major retooling of the season for its final six episodes.

The season also sees several other characters from MCU films and make guest appearances. The was watched by 12.12 million viewers, the highest ratings received by the first episode of a drama series in the United States since the pilot episode of in 2009. The season, which aired on from September 24, 2013, through May 13, 2014, over 22 episodes, initially received a mixed reception, which also mirrored a decrease in ratings as the season progressed. However, reception grew more positive as the season progressed into its second half, which led to more consistent ratings. The series was renewed for a on May 8, 2014.

Production Development In August 2012, it was announced that director would be involved in an upcoming project for, set within the. A few weeks later, ABC ordered a pilot for a show called S.H.I.E.L.D., to be written by Joss Whedon, and, directed by Joss Whedon, and executive produced by Joss Whedon, Jed Whedon, Tancharoen, and. Jed Whedon, Tancharoen and Bell were slated to serve as the series'., and also executive produce.

In April 2013, ABC announced that the show would be titled Marvel's Agents of S.H.I.E.L.D., and it was officially picked up to series in May. On October 10, 2013, ABC announced that it had ordered a full season of 22 episodes. From day one Grant Ward was Hydra in our minds. If we felt like we needed other options, we could have changed. Here's an example of changing. We didn't know we were going to fall in love with the way we did as Raina.

She came in for 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 was going to be 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 and we knew we wanted a mislead so we brought in. The fact that worked out was fantastic. You're going to write that character in a certain way because of who the actor is, so that changes, but we did know we were going to introduce The Clairvoyant, that we were going to introduce he was Hydra and then use that to reveal Ward. Those were things we knew loosely. —Jeffrey Bell, executive producer, on the evolving nature of characters and story lines throughout the season.

In July 2013, Maurissa Tancharoen revealed that Joss Whedon, Jed Whedon, Jeff Bell, Lauren LeFranc, and Shalisha Francis would be the writers for the season. The individual character arcs were laid out by the series' creative team, with Marvel's only initial guidelines being to work around Captain America: The Winter Soldier, which sees the organization S.H.I.E.L.D. Jed Whedon said on this, 'if someone told you that concept, you'd think it was a great thing to have happen at the beginning of the show or the end of Season 3.

To have it happen in the middle of your first season is an interesting kind of riddle'. The writers worked to establish a 'regular day at S.H.I.E.L.D.' And the existing hierarchy, and then 'to blow that up, we knew the way to best illustrate that was by putting it on a personal level with our main man Coulson'. Tancharoen elaborated that 'We see what it actually looks like for S.H.I.E.L.D.

To crumble in Captain America 2, we see the literally barreling through the, we see the massive destruction throughout the city, but the benefit of our show is we get to dive into the emotional toll of that.' Therefore, it was decided at the beginning of the series that one of the main characters would be a traitor, with Jed Whedon saying 'since this is an infiltration based on betrayal on a massive scale, we wanted to have it on the small scale, and have it be a really personal dagger to the heart.' On whether it was Marvel's idea or the showrunner's to have Coulson promoted to Director and tasked with rebuilding S.H.I.E.L.D. At the end of the season, Jed Whedon said 'They're one in the same.

They have plans for films, and we have plans to intermingle with them, and it's the name of our show. The second to last episode is called 'Ragtag', and that's a term we've used; we wanted to create this ragtag group, but within this giant organization with billions of dollars and support all over the globe and satellite feeds on their luxurious plane. Now we have a chance to start them over and figure out what it's like to really be a secret again.' Clark Gregg headlines the series, reprising the role of Phil Coulson from the MCU films The main cast for the season includes as, reprising his role from the film series, as Melinda May, as Grant Ward, as, as Leo Fitz, and as Jemma Simmons.

In April 2013, one of the stars of the earlier Joss Whedon series, was cast in the pilot in an unspecified role, later revealed to be Mike Peterson, the first live-action portrayal of and a recurring character throughout the season., another Whedon collaborator, was also reportedly considered for Richards' role. In December, two recurring characters were set to be added to the series with the episode ' They were described as 'an African-American agent who specializes in combat/weapons, and a high-level S.H.I.E.L.D. Agent/munitions expert who has past ties to both Coulson and Ward.' In January 2014, was cast as Agent, 'a rough-and-tumble former cohort of Agent Coulson with a little bit of attitude and cigar-smoking swagger', for at least four episodes of the season. Jed Whedon said that 'We actually discussed Bill Paxton in the room, when we were talking about the character. Then when he came up as an actual possibility, we couldn't believe it.' The next month, B.J.

Britt was cast as Agent Triplett, an associate of Garrett. Other recurring guests in the season include as, as Ian Quinn, and as Raina. In January 2013, who played agent in The Avengers, said that her character may make an appearance in the show and that her commitment to would not prevent her from participating.

Smulders reprised the role of Hill in the pilot, with Joss Whedon saying, 'I wanted very much to have Cobie in the pilot because as much as anyone else, she is S.H.I.E.L.D.' Smulders returned once again in the episode 'Nothing Personal'. In June 2013, expressed interest in guest starring as S.H.I.E.L.D. Director, and subsequently appeared in the second episode '. Jackson makes a second appearance in the season finale.

During the episode 'The Well', appears as via archival footage from. And also reprise their film roles, and, respectively.

Reprises the role of Felix Blake from the short films. Design were used throughout the season, to 'put the director, stunts, camera, FX and the crew on the same page', though Joss Whedon did not use them for the pilot. One of the storyboard artists, Warren Drummond, noted the process was different to that on films, because there was limited time to complete the work, and because the storyboard artists were often working with different directors for each episode. Most of the sequences storyboarded were action or science fiction sequences. The main recurring setting for the season is the Bus, a retrofitted, that serves as both the transportation and headquarters of the titular team. The Bus includes such features as a soundproof interrogation room, a forensics and research lab located on the lower deck, where Fitz and Simmons work, and a cargo hold directly outside the lab where the team parks its SUV and Lola, Coulson's prized.

Filming The pilot was produced almost entirely in to accommodate Joss Whedon's busy schedule. Subsequent episodes were also produced in Los Angeles, as well as, though additional filming took place around the world, including in, for ', and in, for '. The stunt coordinator for the season was Tanner Gill. In September 2013, Ming-Na Wen talked about stunts and action scenes on the series, saying 'I have great stunt coordinators and choreographers to help me through every step and with the magic of filmmaking and editing, it all brings about her skills, to another level.

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 showrunners had been exposed to this while working on The Avengers, but with their own series they were able to see 'all the details that go into keeping everything under lock and key'. Visual effects The visual effects supervisor for the season was Mark Kolpack, 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. The Bus is a modified C17 transport plane. The digital model used in the series was designed and created by FuseFX.

For the Bus, Altenau explained that it 'has all kinds of S.H.I.E.L.D. Technology that is revealed over time as the series progresses. 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 1962 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 technology designed to be consistent with the period aspect of the car.' When the real Corvette is shown transitioning to its hover mode, volumetric dust, exhaust, and particle effects are added. Occasionally, FuseFX was required to use a fully digital model of the car, which matches the real vehicle precisely. Music In addition to the series' main theme for Coulson, composed several other themes that he used throughout the season: themes for Mike Peterson and Project: Centipede were introduced in 'Pilot'; a theme for the Agents as a team was introduced in '; the Skye theme was introduced in '; a theme for both Fitz and Simmons together was introduced in '; a theme for Victoria Hand and The Hub, which served as the theme for 'Big S.H.I.E.L.D.'

, as opposed to Coulson's 'little S.H.I.E.L.D.' Team, was introduced in '. McCreary opted not to reprise any themes from the films during the season, notably composing his own themes for the and, which he acknowledged had already appeared in several films. A soundtrack featuring music from the first and second seasons, was released by digitally on September 4, 2015, and on CD in October 2015.

Marvel Cinematic Universe tie-ins In June 2013, Clark Gregg explained how the series would tie into the: '.the exciting part is going to be seeing the way that Agents of S.H.I.E.L.D. Interacts with the S.H.I.E.L.D. Component in, and the other movies, and whether those movies will then affect our show.' Joss Whedon did state that the show would be autonomous from The Avengers, saying 'It's gotta be a show that works for people who haven't seen the Marvel movies.

It will please Marvel fans, I think.' He reiterated that sentiment in an interview at the 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.' Ultimately, the season featured several tie-in episodes with Marvel Cinematic Universe films: the episode 'The Well' takes place directly after the events of; the episode 'T.A.H.I.T.I.' Introduces the alien race the to the MCU (confirmed as such in the second season), members of which play a significant role in; and the episodes 'End of the Beginning' and 'Turn, Turn, Turn' revolve around the events of Captain America: The Winter Soldier.

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 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. Release Broadcast Along with the premiere in the United States on ABC, the season began airing in Canada on on September 24, 2013.

In the United Kingdom, the season debuted three days later on, while it began airing on the in Australia on October 2, 2013, and in New Zealand on on February 16, 2014. Marketing.

(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. Critically, the initial screening of the pilot was met with mostly positive reviews, though ' Brooks Barnes noted that 'what goes over well at Comic-Con does not necessarily work in the real world,' especially on a network with ' moms and grandparents'. '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. 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. Eric Goldman of 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'., 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.' 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.' 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', 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.' 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)'.

Analysis 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. 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, 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.' Mary McNamara of the 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.'

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