Issue link: http://digital.copcomm.com/i/990311
dimensional HYDRA logo with skull and tentacles was made from CNC cut MDF, and painted as green marble. This set is stylish and ominous at the same time—a mash-up of Architectural Digest and a worldwide evil organization bent on world domination. INTO THE FUTURE Season five had the most science fiction sets of any season. The characters are taken to a future in which Earth has been destroyed and the only humans live in a secret underground survival bunker. It is 2095, but the bunker was built in the 1970s and now has a neo-dystopian feeling. Greg Melton designed long halls using corrugated metal panels and heavy angular supports as a repeating theme. The script and the showrunners provided terrific information and insight into this world. The Earth is a fragment after a cataclysmic event, and half of the bunker is exposed, as if perched on the side of an asteroid. Using this inspiration, every design decision was given a backstory, a reason why it looked the way it did. The bunker is like a military/government facility that was built by S.H.I.E.L.D. in the distant past, and everything must feel heavy, durable and sturdy. But the invading Kree Aliens that rule the bunker in the future added elements, like the futuristic blast windows. Marvel's Agents of S.H.I.E.L.D. delights and abounds in variety. There is variety in the story lines, the characters and in the settings. This variety keeps the Art Department challenged and always keeps the work fresh. Five large soundstages are never large enough as we move fast to create new sets for each episode. Of course, sets are repurposed, for instance, by turning a hospital into a Russian underwater base, but those three large forty-yard dumpsters will still be needed to clear out the space after the spaceship crashes and the next set is built. ADG A A. SEASON FOUR ENDS WITH A CLIFF-HANGER —MARVEL'S AGENTS OF S.H.I.E.L.D. ARE GOING INTO OUTER SPACE. PHOTO BY MARVEL/ABC.