into something to do with [her] family." She also added that more insight would have been provided on Carter's brother, Michael. Markus and Mc Feely stated in March 2014 that the series would be set in 1946 initially, occurring in the middle of the timeline established in the One-Shot, and would focus on one case for Carter. Due to the large amount of action in the series, fabrics "with the feel and texture of the 1940s" had to be sourced in large quantities, to allow for the creation of four, five, or more of each costume.It's a really rich period in history, where this giant opposition we had going for 10 years with the Nazis is gone, and we're not completely positive what the rules are anymore. Additional seasons would then advance a year and examine a new case. Ottobre-Melton's process "for each episode, [is to] read the script first, and then search for historic photos that relate to what the episode is about.[Now] we have an opportunity, if the show does go into second and third and fourth and fifth [seasons], we know that we can explore all of these aspects of her character because we know she lives such a long life and she's had a fulfilled life. Duggal worked closest with ILM, who coordinated with Base and DNeg to ensure a "seamless workflow".I think what's going to start happening in Season 1 is seeds are going to be planted as to what happens in her personal life—and yet it's still open to the possibility of new men coming into her life, deepening relationships with the men that we discover in Season 1. The majority of the series' visual effects work focuses on set extensions to depict the period setting, as well as the more fantastical aspects such as Howard Stark's inventions, In June 2014, Christopher Lennertz, who composed the music for the Agent Carter One-Shot, talked about potentially working on the series, saying, D'Esposito "told me last summer at Comic-Con that there was a possibility this was going to become a series.The series introduces the origins of several characters and storylines from MCU films, while other characters from the films also appear. Carter is assisted by Stark's butler, Edwin Jarvis, to find those responsible and dispose of the weapons. I doubt that there's a Netflix play for it." She also added that ABC wanted some sort of conclusion to the series, and so the writers and producers would find a way to conclude the lingering plot threads in some form if the series was not renewed.
Because there are so many different iterations of a specific character, you can't be true to every single one." ABC asked the producers to not have the series follow a "Gadget of the Week or Bad Guy of the Week" model, and instead focus on telling the story of Carter balancing her personal and professional lives. They worked closely with the props department to develop technology that appears "both retro and futuristic at the same time", with Fazekas explaining that the goal was to avoid a science fiction look, so the fantastical aspects were reserved solely for function while the aesthetic was kept within the realms of that time period.
Damore lamented the fact that the second season's cliffhanger ending had been left unresolved, and that viewers would never get the chance to see Carter's "happy ending", despite knowing she gets one, leaving the character's "fate unfulfilled, languishing in the obscurity of 'what could have beens'". Butters said that well-received segments had not been part of the original pitch to Marvel, and noted that a second season renewal for the series would help the real world podcast's chances.
She also noted that Marvel had now lost "the opportunity to show several prominent MCU events, not the least of which is the founding of S. She stated that the potential episodes would be "little fifteen-minute storylines".
Fazekas called this "such a nice change" from previous television experience, with the group feeling free to drop whole story ideas in favor of focusing on the series' central storyline. Gabriel Beristain, cinematographer for the One-Shot and the first season of the series, used a combination of modern digital technology and traditional analog techniques to replicate the feel of classic films that are set in the 1940s, but to also have the convenience and consistency of modern technology, such as using the Arri Alexa digital camera, along with Leica Lenses and silk-stocking diffusion nets.
On the time periods the series could potentially explore following the first season given Carter's role in Captain America: The Winter Soldier, Atwell said, "I think the great thing about the fact that I've already played her at the end of her life means that we know ... Stunt coordinator Casey O'Neill, who also worked on the One-Shot and Captain America: The Winter Soldier, incorporated the specific fighting styles of the characters, such as the more "CIA-trained" fighting of Carter or the more acrobatic, "Black Widow"-inspired style of antagonist Dottie Underwood.
He's sort of the guy who tells us, "Well, you can't really do this to that thing, because that's going to step on this project. You don't have to go, "Howard Stark's wearing the same pants that Tony wears! Everything is enhanced just by the knowledge that its all connected." In July 2014, Fazekas talked about how the series would relate to the One-Shot, saying, "The short really is the basis for the series. If you think of the short as sort of the end of the series, the series would be leading up to that moment where she gets assigned to S. The website's consensus reads, "Focusing on Peggy Carter as a person first and an action hero second makes Marvel's Agent Carter a winning, stylish drama with bursts of excitement and an undercurrent of cheeky fun".