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* The Season 5 premiere opens with a very charming, ''Film/GuardiansOfTheGalaxy''-esque scene of Enoch [[https://www.youtube.com/watch?v=g1nFmQWR8GQ going through his morning routine]] and getting ready for work, set to "This Must Be The Place" by Talking Heads.
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* The Season 5 premiere opens with a very charming, ''Film/GuardiansOfTheGalaxy''-esque ''Film/GuardiansOfTheGalaxy2014''-esque scene of Enoch [[https://www.youtube.com/watch?v=g1nFmQWR8GQ going through his morning routine]] and getting ready for work, set to "This Must Be The Place" by Talking Heads.
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"Moderately" is Word Cruft of the "bogus qualifier" variety in this context.
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* The main score itself, by Bear [=McCreary=], is nothing to laugh at, showcasing the seriousness, valour and uttermost competency of S.H.I.E.L.D's agents. One notable example is the climax in the season finale.
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* The main score itself, by Bear [=McCreary=], is nothing to laugh at, showcasing showcases the seriousness, valour and uttermost competency of S.H.I.E.L.D's agents. One notable example is the climax in the season finale.
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* The opening scene to "Making Friends and Influencing People" where Simmons starts her day to the tune of "God Help the Girl" by the group of the same name (created by the frontman of Belle & Sebastian) is something pretty much everyone agrees is awesome. The song used also sounds relaxing and moderately energising, which may be necessary due to everything going down the drain for her and S.H.I.E.L.D later on.
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* The opening scene to "Making Friends and Influencing People" where Simmons starts her day to the tune of "God Help the Girl" by the group of the same name (created by the frontman of Belle & Sebastian) is something pretty much everyone agrees is awesome. The song used also It sounds relaxing and moderately yet energising, which may be necessary due to everything going down the drain for her and S.H.I.E.L.D later on.
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%% * The main score itself, by Bear [=McCreary=], is nothing to slouch at either. One notable example is the climax in the season finale.
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%% * The opening scene to "Making Friends and Influencing People" where Simmons starts her day to the tune of "God Help the Girl" by the group of the same name (created by the frontman of Belle & Sebastian) is something pretty much everyone agrees is awesome.
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There's no reason to just link from the word "version" here.
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* Season 7's time travel shenanigans have given us some wonderfully period-appropriate music, especially this 70's-tacular [[https://youtu.be/kect9PD3z00 version]] of the main theme from episode 5.
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* Season 7's time travel shenanigans have given us some wonderfully period-appropriate music, especially this 70's-tacular [[https://youtu.be/kect9PD3z00 a 70's-tacular version]] of the main theme from episode 5.
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* Season 7's time travel shenanigans have given us some wonderfully period-appropriate music, especially this 70's-tacular [[https://youtu.be/kect9PD3z00 version]] of the main theme from episode 5.
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"Finale" is more usually used as a noun than an adjective.
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* The Season 6 finale gives Sarge a rather sinister {{Leitmotif}} during [[spoiler:the finale battle between him and the agents in the temple]], which perfectly captures the feeling of [[spoiler:how doomed the agents are with May effectively dead, Yo-Yo possessed by a Shrike and Sarge completely immune to both Daisy's quake blasts and the Shrike-killing bullets]] as well as the interdimensional reality-warping weirdness of this season.
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* The Season 6 finale gives Sarge a rather sinister {{Leitmotif}} during [[spoiler:the finale final battle between him and the agents in the temple]], which perfectly captures the feeling of [[spoiler:how doomed the agents are with May effectively dead, Yo-Yo possessed by a Shrike and Sarge completely immune to both Daisy's quake blasts and the Shrike-killing bullets]] as well as the interdimensional reality-warping weirdness of this season.
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* The Season 6 finale gives Sarge a rather sinister {{Leitmotif}} during [[spoiler:the finale battle between him and the agents in the temple]], which perfectly captures the feeling of [[spoiler:how doomed the agents are with May effectively dead, Yo-Yo possessed by a Shrike and Sarge completely immune to both Daisy's quake blasts and the Shrike-killing bullets]] as well as the interdimensional reality-warping weirdness of this season.
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While I'm at it, saying a track is "worth special mention" is Word Cruft. Just go straight to mentioning it.
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* Worth special mention is Audrey Nathan's (the cellist) piece in "The Only Light In the Darkness". For the filming, actress Creator/AmyAcker (not a cellist in RealLife) just mimed playing the cello. [=McCreary=] created an entirely original cello composition based on Acker's finger and bow movements that sounds like a beautiful classical piece.
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* Worth special mention is Audrey Nathan's (the cellist) piece in "The Only Light In the Darkness". For the filming, actress Creator/AmyAcker (not a cellist in RealLife) just mimed playing the cello. [=McCreary=] created an entirely original cello composition based on Acker's finger and bow movements that sounds like a beautiful classical piece.
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Just put the video link in the main part of the entry; don't fence it off at the end with "Can be found here." And don't use the m.youtube.com domain name for links, please.
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* The score during the end of “Orientation: Part One,” when the agents try to figure out where they are after being sent through a Monolith at the beginning of the episode. Daisy, Mack, Yo-Yo, Coulson, May, and Simmons all gradually begin to realize that something is ''very'' wrong about their location, climaxing when [[spoiler: Coulson realizes that the Monolith didn’t send them through space as May points out a wrecked half of a schoolbus floating out in front of a tiny sliver of a particular blue-and-green planet]]. A version of the theme pulled from the soundtrack can be found [[https://m.youtube.com/watch?v=5ogiXmVY26U here]].
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* The score during the end of “Orientation: Part One,” when the agents try to figure out where they are after being sent through a Monolith at the beginning of the episode. Daisy, Mack, Yo-Yo, Coulson, May, and Simmons all gradually begin to realize that something is ''very'' wrong about their location, climaxing when [[spoiler: Coulson realizes that the Monolith didn’t send them through space as May points out a wrecked half of a schoolbus floating out in front of a tiny sliver of a particular blue-and-green planet]]. A version of the theme pulled from the soundtrack can be found [[https://m.[[https://www.youtube.com/watch?v=5ogiXmVY26U here]].The score during the end of "Orientation: Part One,"]] when the agents try to figure out where they are after being sent through a Monolith at the beginning of the episode. Daisy, Mack, Yo-Yo, Coulson, May, and Simmons all gradually begin to realize that something is ''very'' wrong about their location, climaxing when [[spoiler: Coulson realizes that the Monolith didn't send them through space as May points out a wrecked half of a schoolbus floating out in front of a tiny sliver of a particular blue-and-green planet]].
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* The score during the end of “Orientation: Part One,” when the agents try to figure out where they are after being sent through a Monolith at the beginning of the episode. Daisy, Mack, Yo-Yo, Coulson, May, and Simmons all gradually begin to realize that something is ‘’very’’ wrong about their location, climaxing when [[spoiler: Coulson realizes that the Monolith didn’t send them through space as May points out a wrecked half of a schoolbus floating out in front of a tiny sliver of a particular blue-and-green planet]]. A version of the theme pulled from the soundtrack can be found [[https://m.youtube.com/watch?v=5ogiXmVY26U here]].
to:
* The score during the end of “Orientation: Part One,” when the agents try to figure out where they are after being sent through a Monolith at the beginning of the episode. Daisy, Mack, Yo-Yo, Coulson, May, and Simmons all gradually begin to realize that something is ‘’very’’ ''very'' wrong about their location, climaxing when [[spoiler: Coulson realizes that the Monolith didn’t send them through space as May points out a wrecked half of a schoolbus floating out in front of a tiny sliver of a particular blue-and-green planet]]. A version of the theme pulled from the soundtrack can be found [[https://m.youtube.com/watch?v=5ogiXmVY26U here]].
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* The score during the end of “Orientation: Part One,” when the agents try to figure out where they are after being sent through a Monolith at the beginning of the episode. Daisy, Mack, Yo-Yo, Coulson, May, and Simmons all gradually begin to realize that something is ‘’very’’ wrong about their location, climaxing when [[spoiler: Coulson realizes that the Monolith didn’t send them through space as May points out a wrecked half of a schoolbus floating out in front of a tiny sliver of a particular blue-and-green planet]]. A version of the theme pulled from the soundtrack can be found [[https://m.youtube.com/watch?v=5ogiXmVY26U here]].
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* [[https://www.youtube.com/watch?v=XnECGzGwX4Q&t=0m17s Sinara's theme]] from Season 5. It is so strange and overworldly, that it immediately conveys not just the danger itself, but the absolutely alien aspect of it.
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* [[https://www.youtube.com/watch?v=XnECGzGwX4Q&t=0m17s Sinara's theme]] from Season 5. It is so strange and overworldly, overworldly that it immediately conveys not just the danger itself, but the absolutely alien aspect of it.
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* [[https://www.youtube.com/watch?v=XnECGzGwX4Q&t=0m17s Sinara's theme]] from Season 5. It is so strange and overworldly, that it immediately conveys not just the danger itself, but the absolute Alien aspect of it.
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* The Season 5 premiere opens with a very charming, ''Film/GuardiansOfTheGalaxy''-esque scene of Enoch [[https://www.youtube.com/watch?v=g1nFmQWR8GQ going through his morning routine]] and getting ready for work, set to "This Must Be The Place" by Talking Heads.
* [[https://www.youtube.com/watch?v=XnECGzGwX4Q&t=0m17s Sinara's theme]] from Season 5. It is so strange and overworldly, that it immediately conveys not just the danger itself, but theabsolute Alien absolutely alien aspect of it.
* [[https://www.youtube.com/watch?v=XnECGzGwX4Q&t=0m17s Sinara's theme]] from Season 5. It is so strange and overworldly, that it immediately conveys not just the danger itself, but the
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* The [[https://www.youtube.com/watch?v=byQWZLqgyys official Season 6 trailer]] features a spectacular cover of "[[Music/LinkinPark In the End]]" by 2WEI that's fittingly appropriate for both the solemn melancholy and dimension-hopping madness that this upcoming season looks to deliver.
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* The music from [[spoiler: Life-Model Decoy]] Coulson and May's conversation in the climax of "Self Control", which gradually grows from sad and tragic to triumphant and incorporates the show's main theme in the most moving way possible.
* The score in the climax of "No Regrets", which serves as a moving and fittingly emotional goodbye to [[spoiler: Jeffrey Mace.]]
* The score in the climax of "No Regrets", which serves as a moving and fittingly emotional goodbye to [[spoiler: Jeffrey Mace.]]
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Re-creating page with correctly capitalized title.
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* [[https://www.youtube.com/watch?v=JV3caseYUy0 The series main theme]] is pretty awesome.
* The Music/BlueOysterCult classic "(Don't Fear) The Reaper" playing over the beginning of "Turn, Turn, Turn". It proves to be what Agent Garrett was listening to on his plane's sound system at the time. [[spoiler:Just because you're a HYDRA agent doesn't mean you can't have great taste in music.]] On top of that, [[GeniusBonus the real-life [=USAF=] operates]] the [=MQ-9=] "Reaper" armed [=UAV=].
%% * The main score itself, by Bear [=McCreary=], is nothing to slouch at either. One notable example is the climax in the season finale.
* Worth special mention is Audrey Nathan's (the cellist) piece in "The Only Light In the Darkness". For the filming, actress Creator/AmyAcker (not a cellist in RealLife) just mimed playing the cello. [=McCreary=] created an entirely original cello composition based on Acker's finger and bow movements that sounds like a beautiful classical piece.
%% * The opening scene to "Making Friends and Influencing People" where Simmons starts her day to the tune of "God Help the Girl" by the group of the same name (created by the frontman of Belle & Sebastian) is something pretty much everyone agrees is awesome.
* The last scene of "The Writing of the Wall" of Ward shaving and Skye checking the phone is awesomely set to "Who is He (And What Is He to You)" by Bill Withers.
* The musical cue at the end of "What They Become", where Skye [[spoiler:emerges from the Terrigen Mist and cements her role as the MCU incarnation of Daisy Johnson/Quake]]. Which sees a reprise at the end of Season 2 as [[spoiler: Daisy battles her mother to save herself and all non-Inhumans]] and a further DarkReprise in "The Team" when [[spoiler: Daisy reveals herself to have been infected by Hive and proceeds to devastate the SHIELD base with her sonic powers]].
* The Leitmotif for 'Tahiti' and anything relating to it is an incredibly unnerving OneWomanWail that often heralds something very creepy.
* The nightmarish theme from "S.O.S." that plays when Cal [[spoiler: becomes Mr. Hyde]].
* Another [=McCreary=] creation,"[[https://www.youtube.com/watch?v=6gjK25OTggw Crossing into Darkness]]", the epic piece that ends "Maveth" is pretty awesome in his own right. It makes a fantastic return in "The Real Deal" as the music which plays when [[spoiler:Mike Peterson lands a Quinjet in the Lighthouse carrying agents that Deke was able to contact. The song plays during what is effectively the rebirth of S.H.I.E.L.D.]]
* The tune that plays during 'Parting Shot' when [[spoiler: the team says goodbye to Bobbi and Hunter. Made doubly awesome because so much of the scene is only the music, no words were said. The music alone drove home the finality of the goodbye.]]
* The theme that plays whenever Ghost Rider appears is ominous and awesome at the same. When it plays during the Rider's first appearance, it lets you know straight away that the characters and audience are not dealing with a natural, scientifically grounded force, but a supernatural demon that no one is prepared for. From then on, every other time it's played, you know whoever's in his target-sight is completely and utterly screwed. "It's time to pay for your sins" indeed.
* [[https://www.youtube.com/watch?v=XnECGzGwX4Q&t=0m17s Sinara's theme]] from Season 5. It is so strange and overworldly, that it immediately conveys not just the danger itself, but the absolute Alien aspect of it.
----
* The Music/BlueOysterCult classic "(Don't Fear) The Reaper" playing over the beginning of "Turn, Turn, Turn". It proves to be what Agent Garrett was listening to on his plane's sound system at the time. [[spoiler:Just because you're a HYDRA agent doesn't mean you can't have great taste in music.]] On top of that, [[GeniusBonus the real-life [=USAF=] operates]] the [=MQ-9=] "Reaper" armed [=UAV=].
%% * The main score itself, by Bear [=McCreary=], is nothing to slouch at either. One notable example is the climax in the season finale.
* Worth special mention is Audrey Nathan's (the cellist) piece in "The Only Light In the Darkness". For the filming, actress Creator/AmyAcker (not a cellist in RealLife) just mimed playing the cello. [=McCreary=] created an entirely original cello composition based on Acker's finger and bow movements that sounds like a beautiful classical piece.
%% * The opening scene to "Making Friends and Influencing People" where Simmons starts her day to the tune of "God Help the Girl" by the group of the same name (created by the frontman of Belle & Sebastian) is something pretty much everyone agrees is awesome.
* The last scene of "The Writing of the Wall" of Ward shaving and Skye checking the phone is awesomely set to "Who is He (And What Is He to You)" by Bill Withers.
* The musical cue at the end of "What They Become", where Skye [[spoiler:emerges from the Terrigen Mist and cements her role as the MCU incarnation of Daisy Johnson/Quake]]. Which sees a reprise at the end of Season 2 as [[spoiler: Daisy battles her mother to save herself and all non-Inhumans]] and a further DarkReprise in "The Team" when [[spoiler: Daisy reveals herself to have been infected by Hive and proceeds to devastate the SHIELD base with her sonic powers]].
* The Leitmotif for 'Tahiti' and anything relating to it is an incredibly unnerving OneWomanWail that often heralds something very creepy.
* The nightmarish theme from "S.O.S." that plays when Cal [[spoiler: becomes Mr. Hyde]].
* Another [=McCreary=] creation,"[[https://www.youtube.com/watch?v=6gjK25OTggw Crossing into Darkness]]", the epic piece that ends "Maveth" is pretty awesome in his own right. It makes a fantastic return in "The Real Deal" as the music which plays when [[spoiler:Mike Peterson lands a Quinjet in the Lighthouse carrying agents that Deke was able to contact. The song plays during what is effectively the rebirth of S.H.I.E.L.D.]]
* The tune that plays during 'Parting Shot' when [[spoiler: the team says goodbye to Bobbi and Hunter. Made doubly awesome because so much of the scene is only the music, no words were said. The music alone drove home the finality of the goodbye.]]
* The theme that plays whenever Ghost Rider appears is ominous and awesome at the same. When it plays during the Rider's first appearance, it lets you know straight away that the characters and audience are not dealing with a natural, scientifically grounded force, but a supernatural demon that no one is prepared for. From then on, every other time it's played, you know whoever's in his target-sight is completely and utterly screwed. "It's time to pay for your sins" indeed.
* [[https://www.youtube.com/watch?v=XnECGzGwX4Q&t=0m17s Sinara's theme]] from Season 5. It is so strange and overworldly, that it immediately conveys not just the danger itself, but the absolute Alien aspect of it.
----
