Anyone know the episode where fitz is talking with Donnie and he says jemma is an “odd bird?” I saw it in an edit but i don’t find it.

I was doing an edit and I wanted to put Ward mentioning Loki, can somebody tell me when he mentioned him beside episode 15?

I found it in an Instagram post

anyone have scp for fitzsimmons, mainly sad/hallucinated fitz

Having just finished my 3rd watch through, I've come to the realization that Season 7 may be my favorite. Although it tolls the end of the series, it was filled with such heartwarming character interaction and revelation in addition to the clever use of the era-tropic stylism that made it really fun to watch. The whole series is so enjoyable and immersive from the great writing, casting and acting performances. It's got to be one of the best series ever. I just want more...

Among everything else great and/or fascinating about this show, I just wanted to gush about it from a film student's perspective. That's that in AoS, we see something in real-time that we rarely get to see so fluidly: A team of writers finding their strengths and weaknesses and learning to adapt to them and focus them.

I recently rewatched Season 1, and it struck me how compared to later seasons... it was very much a Joss Whedon show. The pacing and structure was the same formula Joss patented with Buffy The Vampire Slayer and brought back in Angel and Firefly, the structure that shows like Bones, Psych, and other "procedurals but with actual character story threads" uses, the structure that the Arrowverse got people sick of. That formula being:

1. Establish a cast of simple, arguably even cliched characters in a strong pilot that sets up a "big bad" threat.
2. Go on a series of mostly unconnected standalone monster-of-the-week episodes that deconstruct and flesh out the characters gradually.
3. Occasionally connect back to the "big bad" in a standalone entry with its own plot ("The Girl In The Flower Dress").
4. At some point in the middle, reveal that some of the unconnected monsters of the week are actually connected to the big bad (E.g. When we find out that the Eye tech is used by Centipede and that Quinn works with them).
5. Continue with a few standalone episodes mixed with building the main plot.
6. Go after the big bad, and lose and/or have a big twist revealed.
7. Scramble in the aftermath ("Providence")
8. Have at least one more episode with some standalone elements ("The Only Light In The Darkness")
9. Go after the big bad again, this time win

The only deviations being that some events that would be less episodes in a Buffy formula are more episodes here (E.g. "The End of the Beginning" and "Turn, Turn, Turn" would be one Joss episode, the last two episodes would probably be one episode, etc etc..). Even visually the series calls to mind Buffy more than it does anything else. In that way, it feels not only divorced from the series that came after, but from Marvel Television's projects as a whole (More on that in a minute).

It's easy to see why they didn't stick with this though. Because Joss Whedon left after the pilot, the show fell into the welcoming hands of Jed Whedon, Maurissa Tancharoen, and Jeffrey Bell. Who clearly have different writing strengths than Joss did. Joss knew how to handle these kinds of semi-serial, semi-procedurals without feeling overly fillerish, something AoS Season 1 consistently struggles with.

The season finds its footing at the end when they, conveniently, get to the third act when a Whedon show can typically focus in on the main story arc. This is where Jed and Maurissa found their strength, something they can actually do better than Joss Whedon. Think about it, the most loved episodes of a Joss Whedon show usually tend to be the best standalone adventures with some tie-in, not the big serialized finales. With this show, the best parts were clearly when they downplayed the episodic nature more.

It made sense then, for the writers, beginning with Season 2, to just make the entire show these long, flowing story arcs. No more attempting to be a procedural, the show became fully serialized. Which, as it turns out, would become the Marvel Television model in general. Agent Carter, Daredevil, even Runaways. All of these shows mostly turned away from standalone episodes (Outside of occasionally having a bottle episode or a break between parts of an arc) and toward just going all in on arcs where episodes flowed into the next one. Where AoS S1 took after Buffy, Seasons 2-onwards arguably take more after Breaking Bad, episodes go directly into the next typically.

This is also why, whereas Season 1 only had one story arc, Seasons 2-onwards split seasons apart. Because having one consistent arc across 22 episodes would be insane without some degree of procedural elements. But AoS Season 2 isn't really one 22 episode arc. It's a 10 episode arc, a 9 episode arc, and then a short three episode arc that brings the last two together. These kinds of structures permeate the show, until Season 6 and 7 return to one story arc for the seasons, only because they saw a reduced 13 episode count for each.

The showrunners clearly struggled trying to make the version of the show built on Joss' strengths. They eventually stopped trying to, and made the show on their own strengths. And you can see how much this affected the company as a whole. AoS S2, Agent Carter, and Daredevil set the tone for the rest of Marvel Television's projects. Serialized dramas with a gritty tone, darker visuals compared to the MCU, more harsh fighting and action, and a sharp focus on not making "MCU Shows", but "Shows about real people in the MCU". Which, yes, was what AoS was always pitched as, but Joss' version of that was basically MCU X-Files.

Joss' show would've probably worked fine, in fact I do even think there's plenty of room for a procedural like that in the MCU and, given how we're now in a time where procedurals are so uncommon that Star Trek: Strange New Worlds actually used its procedural nature as a selling point, it might even be more unique and interesting to do now. But Joss' show would never have given us the Kree City arc. The Hive arc. The Framework. The Lighthouse. All that came because the lesser known brother and his cohorts were able to discover how best to handle their strengths and focus them. Usually this is something that happens behind closed doors, or between series' or projects. Here, we got to see it happen on-screen before our very eyes.

And that's something I think we should appreciate a bit more.

Yes I know S6 and 7 canonically can only take place in 2019. However I see people try and use Loeb’s comments (I’m pretty sure it was him who said it) that all of the MTV shows take place pre-snap. If it is ever retconned to account for the snap I would almost prefer it happen post-snap. This is so that the infinity war references in S5 stay intact and S5 finishes moments before infinity war.

I know there are multiple references to it being a year in between. There are already problems like this in the timeline though. Due to Iron Man 3 being moved to 2013 and winter soldier being moved to earlier in 2014 by Marvel themselves, certain lines and references in season 2 don’t work anymore so we just have to ignore them. Marvel could also go into the episodes and remove references to one year like they did with Daredevil Season 2.

I think the biggest hurdle is how the team is still getting over Coulson’s death and he was clearly dying in S5. While it’s a stretch, if the seasons take place post blip, Coulson could have been snapped and then only died after coming back. Alternatively he could have survived until 2023.

I know this would be a massive retcon but if it could be pulled off I think it could possibly work better than just saying the snap doesn’t get referenced but it actually happened. If they ever wanted to add the show to the timeline I do think having S6 and S7 in between Infinity War and Endgame would be super weird due to the fact that they don’t deal with anything that happens in those movies. Maybe slotting them after WandaVision would work well for a timeline perspective.

The four options are 1 - Place them where they are currently and possibly confuse viewers watching through the timeline when there is no reference to the biggest event to happen during that time. Just because something isn’t mentioned doesn’t mean it can’t have happened canonically but it could be problematic from a timeline perspective.

2 - Retcon S5, S6 and S7 to all happen pre-snap and ruin the Infinity War references in S5. I don’t like this because Thanos coming is a huge catalyst of Talbot’s character motivations.

3 - Retcon s6 and 7 till after the blip and risk messing up lines of dialogue and character motivations at the beginning of S6. SHIELD could even operate as a part or in tandem with SABER. This would mean Daisy now works for Fury in space which would make sense. You don’t even have to mention Sousa or Kora again (although it would be annoying) for it to work. Placing it near WandaVision could explain the rise of SWORD during the blip. None of the S5 time travel would be retconned either because all of those statements happen in relation to the present day events of that season which happen in 2018. They could easily just use an updated timeline book to explain away any retcons.

4 - just stick AOS in its entirety after the Avengers and never deal with it. The reason I don’t think this is feasible is that there is talk that the season by season split will eventually happen on the complete timeline. I believe it was said by Disney plus employees shortly after they released their complete timeline with the Netflix shows.

I’m not completely sure of this idea but I just thought I’d see what people think would be the best option hypothetically if they ever want to add it.

S6E6 where they are in the mind prison together… just so, so good. That episode always reminds me why they are one of my favorite TV couples of all time. A lot of S6 is.. well.. not great, forgettable even. But that episode is always such a great watch.

I’m looking for that quote that Coulson says at the end of AOS S1 that Garret later mixed up. It’s a quote that Fury said to both Garret and Coulson.

Izel has to be easily the most wasted villian. They have seasons 2-5 all about the monoliths and then it turns out they were from her realm and now you have this huge villian the last 3 seasons have centered around due to her relics and we give her 4 episodes 😐 and to top that off she didn’t get one name drop in season 7. Yall agree with me?

Currently rewatching aos and I’m reaching the end of s6. God it makes me so sad how may (especially may) and daisy had hope sarge could be coulson. The denial and grief is so clear. Currently missing coulson :(

My take on the fox, chicken and corn riddle.

How much time did Ward spent with the team before Hydra’s reveal?

I finally finished my own lego Lola after planning and waiting months for parts

1. How tf is it possible that there was like 0 mention (except one with the coming attack) of Thanos and absolutely 0 consequences. I would imagine that in reallity SHIELD would be up and down everywhere dealing with what was left after that invasion. + None of the team members were erased? Rly?
2. The last episode what are we fighting for, I was expecting after everyone disappearedbfrin the call one last father-daughter like conversation with Phil and Daisy. Maybe they intended not to, as most things were already said, but I still wanted it, something to I could cry one last time. 🤣

P.S. Hunter is best character ever

Spoilers go wild, Don't read if you don't want to know. The city of Attilan had a population of Inhumans that went back and forth to Earth. Gordon could quantum entangle and sense people. It's in my head canon that it's on an atomic level 'We were all a part of something else" and he's able to selectively choose atomic matches and go to where he feels linked. Getting to a place is easy, but to know about a person he has to sense them first, after that he's aware. All that said, how could he be oblivious to the Moon cousin colony? Ready, set go!

I haven't watched the series in quite some time, but as I am rewatching, I wonder if it was ever confirmed or, at the very least, hinted at concerning what May saw when holding the Staff. It may be that I am not connecting the dots, but does anyone have ideas?

Follow up to my previous posts with a flow chart this time.

Follow up to my previous post. This shows the time loop.

I’ve seen a few posts recently related to the time loops as well as the future vs present day Fitz, but have seen a lot of confusion in the explanations given. So, I made a few graphics and a quick write-up to help explain it. Hopefully it will help some people. I think I can only have one photo per post so I might need to make multiple post…

Step-by-Step Explanation of Time Loops:

1. Original Timeline Initiation:

   • The story begins in the present day (around 2017).
   • An unknown catastrophic event destroys the Earth, leading to a dystopian future.

2. Team's Journey to the Future:

   • The team (except Fitz) is forcibly sent to the future (2091) through a monolith.
   • They arrive instantly in 2091, finding a destroyed Earth ruled by Kree.

3. Fitz's Separate Journey:

   • Fitz, left behind, works with Enoch to reach the same future.
   • He enters cryosleep and takes the "long way" - 74 years of normal time passage.

4. Future Events (2091):

   • The team reunites in the dystopian future, including Fitz who just arrived.
   • They learn about the Earth's destruction and their supposed role in it.

5. Return to the Past:

   • The team, now including Future Fitz, finds a way back to 2017.
   • They arrive shortly after their original departure, creating a time loop.

6. Attempt to Prevent Catastrophe:

   • Armed with knowledge from the future, the team works to prevent Earth's destruction.
   • Initially, they fail to stop the events leading to the catastrophe.

7. Loop Continuation:

   • The Earth is destroyed as before.
   • The younger versions of the team are sent to the future, restarting the loop.
   • This loop has potentially occurred multiple times before the events we see in the show.

8. Breaking the Loop:

   • In one iteration, the team manages to alter events significantly.
   • They prevent the catastrophe that would have destroyed Earth.

9. Timeline Split:

   • By preventing the Earth's destruction, a new timeline branches off.
   • This new timeline diverges from the original loop.

10. Paradox Creation:

    • In the new timeline, two versions of Fitz exist: a) The Fitz who returned from the future with the team. b) The present-day Fitz, still in cryosleep, unaware of the changes.

11. Impact of Different Time Travel Methods:

    • Team's method (monolith): Instant travel, but locked into the loop.
    • Fitz's method (cryosleep): Experiences full time passage, adds complexity to the loop.
    • Fitz's method allows him to exist outside the immediate loop, creating the paradox.

12. Loop Resolution:

    • The prevention of Earth's destruction breaks the necessity for the loop.
    • The team now exists in a timeline where their future selves never needed to come back.

13. Continuing Implications:

    • The team must deal with their memories and experiences from the aborted timeline.
    • They face the ethical dilemma of what to do about the Fitz still in cryosleep.

Key Points to Remember:

• The original timeline forms a closed loop, repeating the same events.
• Breaking the loop creates a new, branching timeline.
• Fitz's different method of time travel adds a layer of complexity, allowing for his dual existence.

How S.H.I.E.L.D. Time Tavel Works:

The time travel logic in the show presents a complex yet internally consistent model that combines elements of predestination paradoxes and mutable timelines. Initially, the show establishes a closed time loop where events in the future directly cause events in the past, which in turn lead to that same future, creating a seemingly unbreakable cycle. This is exemplified by the team's journey to a dystopian future and their subsequent return to the past with knowledge that ironically contributes to causing that very future.

The show introduces an interesting wrinkle with Fitz's separate method of time travel. While most of the team uses a monolith for instantaneous time jumps, Fitz takes the "slow path" via cryosleep. This distinction becomes crucial in understanding the malleability of the timeline. It suggests that while events may be predestined within the loop, external factors (like Fitz's alternate journey) can introduce variables that potentially allow for changes.

The time loop operates on the principle that causality is maintained - actions in the future influence the past, which leads to that future, creating a stable, self-perpetuating cycle. However, the show posits that with sufficient understanding and precise intervention, this loop can be broken. This break occurs when the team, armed with knowledge from their future selves, manages to prevent the catastrophic events leading to Earth's destruction.

When the loop is broken, the show shifts from a predestination model to a mutable timeline model. This shift creates a new, branching timeline where the dystopian future is averted. Importantly, this doesn't erase the experiences of the time travelers or retroactively change the past events of the loop. Instead, it creates a new future from the point of divergence.

The show grapples with the philosophical implications of this model, particularly through the paradox of having two versions of Fitz - one who experienced the loop and one who didn't. This paradox underscores the show's approach to time travel consequences: changes to the timeline don't erase prior events or experiences but rather create new branching realities.

In essence, the show presents a hybrid model of time travel logic. It begins with a deterministic, closed-loop system but evolves into a mutable timeline model where informed actions can alter the course of events.