#I hate to admit it but this rewatch is basically just for project gloves on/off

[xieyaohuan]

Started rewatching S1 last night and realized there's an ad with A Train right when Hughie and Robin leave the hardware store moments before A Train kills Robin... Damn.

[ayankun]

yalright let’s do this

AGENTS OF SHIELD SEASON ONE REWATCH COMPLETE BREAKDOWN MEGAPOST

hella spoilers for the entire canon up through season 5, but not 6 because I only saw it the once and am having a hard time remembering ANYthing about it.

I cannot determine specifically what it was about this season that caused to be branded “literal garbage” in my mind-hole for seven years.

Best guesses:

there’s some cheesy stuff that probably didn’t sit well with me at the time, and, at the time, there was no way of knowing that that kind of stuff was going to be ultimately eradicated

there’s some good stuff, like character stuff and plot stuff, but it didn’t successfully implant positive emotional responses in my brain-hole, leading me to be frustrated/offended at its own self-importance

there’s some stuff that just Doesn’t Work.  I won’t call anybody out, but there are some main side characters whose casting, in my opinion, leaves much to be desired.  when it comes to acting ability, I feel that it’s important to have the ranges of your entire cast match each other.  if you’re gonna hire B-listers, at least make sure they’re ALL B-listers.  if you’re gonna splurge and get some S-tier talent, pleeeeease don’t embarrass the B-listers by thinking you’re doing them a favor by including them on your project.  Understood, this opinion is highly subjective and I can’t expect everyone in front or behind the screen to buy into it, but it’s definitely a pet peeve of mine that causes strong reactions in me*

some of the plots are tired and/or straight up boring.  I got through them easily this time through because I was able to focus on the things I like, which is largely character interactions and re-learning the backstory for stuff that I know will continue to be important later on.  imagine listening to your grandpa’s stories about his life, but instead of telling you the cool stories about going to the moon or whatever, he’s telling you in great detail about the time he got his shoelaces stuck on like, a rusty nail sticking out of a fence.  It’s not a great story but it does explain why his mom only bought him velcro shoes after that and one time when they were trying on shoes in the store a couple of years later, some other kid started making fun of him for having velcro shoes and long story short your grandpa’s relationship with that kid is what got him interested in astrophysics and also he married that kid twenty-five years later -- but right now the story is specifically about spending forty minutes trying not to get tetanus.

Now that I’m older and wiser, what really surprised me throughout, though, was that not only was I not having any type of reaction that validated my “literal garbage” classification, I was noticing that there was A Lot of stuff that ticked a lot of boxes.

I’m talking technical stuff, the textbook basic filmmaking stuff, the stuff that I subjectively find objectively “Good” because it means that creative decisions were made with intent and were also executed proficiently enough to make that intent clear.

I’m talking SYMMETRICAL NARRATIVE which has to be one of my all-time favorite techniques, one that I personally use a lot, and I’m very biased in responding favorably when I see it, so I think ultimately this is a huge reason why this season cannot be classified as garbage this time around.  Because it shows that they cared!  It shows that they had A Plan!  It’s an emotionally satisfying technique that can be used to great effect when tipping the audience off to how far we’ve come from where we started.  It creates this nice tidy structural loop which I find very appealing.

Just real quick, you see this in individual episodes or even scenes, too.  Here’s a classic A+ example from episode 2:

Simmons has given Skye a bottle of water as a gag because that’s what happens on planes, and that bit is a set up to this bit, where Coulson is talking about how he rebuilt the Bus from the “studs up” and it demands to be treated with kid gloves; ergo:

Only to have the thing completely wrecked over the course of the episode.  In the denouement, “just starting to warm up to this place,” Coulson says ruefully, righting a broken glass as if that will put the plane back together; Skye immediately tosses a coaster down and moves the glass on top of it.

As a callback, it juxtaposes the starting-state and ending-state in your mind and highlights the contrast between the two.  And it’s also a nice character-building beat where you, the audience, get to observe Skye’s character in that she remembers a trivial detail that happened to be important to Coulson.  You also get to see Coulson observing the same, and you understand a little bit more about both of them.  *chef’s kiss*

So this is a pretty powerful and common technique, and I guess you could say that any well-resolved narrative is by definition going to recall you to the specifics of how it started.  Like ep 1 we start with Mike and Ace, their call and response “what are we/we’re a team,” and an understanding of Mike’s desire to be his kid’s guardian and hero and his desperate search for the tools that will allow him to become that.  In the finale, we see the pay off where Ace (via Skye) reminds Mike of this motivation, and Mike is finally in the position to protect his kid by taking out the Big Bad.

But I don’t want to go through the list to demonstrate that everyone’s character arcs likewise left them in a thematically resolved position relative to where they started.  Obviously this is an expectation of all (well structured) narratives. 

(And I don’t really mean to talk about callbacks themselves, such as Fitz’s obsession with monkeys or May’s repeated demand of “don’t call me that.”)

Stuff that only comes up at the beginning and the end.  Here’s the kind of symmetry that I mean:

Skye’s use of GPS encryption and the location of the diner where she first meets Mike.  Both topics come up in ep 1, and are revisited in ep 20 when she’s stalling for time against Ward and brings him to the diner by telling him that it’s the GPS coordinates necessary for decrypting the drive.  It says, last time you were here, Skye, you were living out of a van and fangirling over people with superpowers; now you’re an official agent of SHIELD (fun while it lasted, anyway) and you’re currently doublecrossing your own doublecrosser who was directly responsible for transforming you into the competent spy you are today.

Same thing: the only time we see Lola fly is at the end of ep 1, when Coulson and Skye are heading back to the Bus, and in ep 20 when Coulson rescues Skye from off the Bus.

Ep 2: 0-8-4.  We’re introduced to the very first object with the titular designation, and Simmons idly wonders “imagine what it would do to a person.”  Ep 22, it’s used to evaporate Garrett.  Same ep, we also meet the little, what even is it, that dendrotoxin EMP (??? I don’t recall whether the gadget is named) that Ward uses, and Coulson uses it in ep 17 to incapacitate Garrett.

Similarly, all the cool alien gadgets we spent the first few episodes gathering and locking up, including that first 0-8-4, are all broken out into the wrong hands in ep 18.

Also in ep 2 we are introduced to the idea of being thrown out of the airplane and Skye & co specifically prevent Ward from being sucked out.  We’re introduced to the concept of Coulson’s cellist!  Fury also makes a cameo (”talkin to me about authority”) ! 

It’s a little later on, but ep 6 has Simmons jumping out the plane, and Ward proving his Good Teammate status by jumping out after her (while Fitz is struggling on his way to do the same).  Ep 21, Ward boots FitzSimmons out the plane, and in ep 22 Fitz finally has the chance to properly save Simmons himself.

Ep 19 Coulson has a chance to save his cellist (again)

Ep 22, Fury comes back all Deus ex Machina and relinquishes authority of SHIELD directly to Coulson.

There’s also some dialogue recycled on purpose to make a point, like Fitz-Simmons introductory scene is recreated almost verbatim in ep 21:

Ep 2, talking to Skye about his mission vs ep 18 talking to Raina about his mission

(gotta admit, the man took this role seriously.  check out that cheekbone game he achieved in such a short time)

And again, Ep 1 Ward vs Ep 18 Ward.  They even framed it the same!!

All this to say, Season 1 is Structurally Sound and it has my blessing.

Now let’s move on to the list of things I liked that surprised me:

It’s pretty well polished, visually.  Joss Whedon’s veteran control of the director’s chair is readily apparent in the pilot, setting the visual tone for the series.  There are some made-for-tv shots over the course of the season, sure, and the least impressive compositions tend to involve CGI backdrops, but they do make the most of their interior sets and work hard to dress up various LA locations to, er, inspire the idea of the international scope of the show.  In my last update, I talked about ep 8 The Well in the context of Quality Directing, so it definitely goes above and beyond the basic shot-reverse shot when it wants to.

Ward.  Just for the record, I think Brett Dalton is great at his job and really brought exactly what they wanted to this character.  Eps 1 and 2 are a little shaky and stiff, but everyone’s performances are, as they let these characters coalesce around them.  I remember not liking Ward when I was watching this live, and honestly I think this was intentional.  He’s that character that you expect that you’re expected to like, you know, the traditional cocky savior type that lots of those fancy heroes are.  But because he’s so tropey in his characterization, you’re just ... over it?  And then when they flip the script and you’re supposed to hate him -- WOW.  It’s like two Christmases at once.  They took something you were already doing and rewarded you for it.

I’m not unaware of the “redeem grant ward” phenomenon.  I’m aware that the character had fans who were honestly drawn to and appreciative of the character before that persona was revealed to be a lie.

And honestly, it’s not that I like OR dislike Ward at all.  As a person.  It’s annoying that he’s a cocky bad-boy.  But it’s sweet when he plays nice with Simmons.  It’s embarrassing that he and May have “a thing.”  But it’s cathartic when he opens up to Skye about his past.  And Then, the sequence where we know he’s Hydra but Skye doesn’t.  And Then, the sequence where Skye knows he’s Hydra but he doesn’t.  And Then, his weird yucky confusion where he still wants to pursue something with Skye or doesn’t want to put down puppy-dog-eyed Fitz.

As a character, Ward is a great character.  His set up is so bland that the twist does appear to come out of nowhere, but on a rewatch all the groundwork is there.  His characterization as a baddie is enthralling.  I’m forecasting into season 2 a bit, but you want to follow his nefarious exploits just as much as you want to see his ex-friends smash his face in.  Brett Dalton played it right, A+ good job.  It makes Framework!Ward just that much more of a beautiful thing, to get to see what it would have been like if the Season 1 persona had actually been the man.

Also as covered in the last update, I was really very pleased to see how much character work was being done in this season.  Because I only watch and rewatch starting from the second season, there are important plot points that I’d been grudgingly attributing to this season about which I’d forgotten the specifics, such as, what’s the deal with Gravitonium, howcome we hate Ward so much, where did they get that memory-torture-machine, why are you acting like I recognize Titus Welliver’s character?  What surprised me was how much of a focus there is on character development as well.  A lot of good origin story stuff, like how green FitzSimmons is and how soft and good-hearted Skye is and all the reasons we respect and trust May and all the reasons we would follow Coulson to the ends of the earth.  Watching a found family start to put down roots is worth it, too, ten times out of ten.

The tie-in stuff wasn’t as overstated and stifling as I remembered it being.  They were allowed quite a long leash even this far back.  Centipede is based on Extremis, but helms a a unique narrative.  The Asgardians-of-the-week are just MacGuffins for driving character stories.  Turns out all of SHIELD has been Hydra all along!  Sucks to be you, a show about the Agents of SHIELD ... oh wait, Daddy MCU’s insane twist is mirrored in the DNA of your team’s composition AND baked into your overall season arc?  Well then.  Carry on!

Engaging with Season 1 explicitly as a prequel is a powerful thing.  First time through, I had the distinct realization that “too much of a good thing” was at play regarding Coulson.  He’s everybody’s favorite MCU character in 2013, hands down, but ... getting intimate with him for 40 minutes a week really waters down his mysterious G-man appeal.  BUT.  After spending six+ years with the man, Season 1!Coulson is a precursor to the 3-dimensional Director you’ll fall in love with, rather than a distortion of the one-liner MCU!Coulson you thought you wanted.

So what’s next!  Absence makes the heart grow fonder, and here all all the things I associate with AoS that were not present in Season 1:

Robot hand.

DaISy JoHnsOn

AGENT/DIRECTOR MACK where is he I need him

Fitz’s facial hair

Their underground SSR base with the exposed brick, I miss that place all the time

Hive, Bobbi*, Hunter, Kyle MacLachlan, Maveth (everything** about Seasons 2 and 3, really).  Robbie Reyes.  Aida and Kasius!!  I know these things are temporary, but they’re so important to the best bits and I love them.

Getting to see episode after episode where there are scenes at a time containing a majority (up to 100%) of women and/or POC characters with executive agency, and none of those characters are token or temporary but were placed there with intent to normalize a diversified cast.

My absolute favorite episode of all time, 4x15 Self Control.

Things I am not looking forward to:

**Lincoln.  I’ve seen these seasons four times and just now I had to google his name because I wasn’t sure it wasn’t Logan.  He’s garbage and I’m glad he’s dead.  Other opinions are available.

Misc. Thoughts

*I said I wouldn’t name names but Adrianne Palicki is a C-lister who can swing a B+ if the stars align. I love Bobbi, though, especially the way the character’s reputation precedes her, how her adorableness complements her badassness.  In fact, the character’s a great foil to May, who is also a badass lady and S-tier agent but has a completely different approach to being those things.  Bobbi’s a reminder that badassness and aloofness are not correlated at all.  Also there’s a headcanon out there that she’s non-binary (one of the reasons she prefers Bobbi over Barbara) and that is a concept I can get behind.  Bobbi’s perfect and I’ll fight you if you don’t agree.

Poor Trip!!!!!!!  When you always start from Season 2, he’s really just a flash in the pan, there and gone.  I’ve always been like, “well, he didn’t really have a home here, no carved-out niche, so I guess getting Coulson’d and becoming something to avenge is the best a character like him is gonna get.”  But now that I see that he comes late to the game as a literal stand in for Ward, his story is that much sadder.  He was never intended to BE a character.  He’s introduced with Garrett as a pawn/distraction during this arc’s who-is-Hydra shell game, he’s kept to demonstrate what kind of friend and agent Ward should have been, his defining character trait as a gentle flirt only serves as a catalyst for Fitz’s coming to terms with his feelings for Simmons.  The poor guy is just a walking plot point, up until the bitter end.  :<

I had entirely forgotten and/or never tracked the fact that Fury put together Coulson’s team specifically to monitor him after project T.A.H.I.T.I.  I’d forgotten the distrust Coulson has for May after he perceives that she has betrayed him by being a part of this.  It’s a season-specific reveal that is literally never mentioned again.  It’s important to the fabric of the narrative of that particular arc, offering up May alongside Ward and Trip as fodder for the aforementioned shell game, but the true inciting incident of this entire show just gets swept under the rug and ceases to matter.  I’m kind of :/ about that.

When you’re bi and non-binary, you’ll get a lot of mileage out of wanting to be/be with Daisy and/or Fitz, don’t judge me

In conclusion, Season 1 is the opposite of literal garbage, Agents of S.H.I.E.L.D. is my favorite show and my favorite MCU movie, Daisy Johnson is my favorite Marvel superhero (not related to Season 1 but still true), and nobody had better spoil Season 7 for me pleaAAASE don’t let it happen.