Comic-Con: TV's 6 Most Wanted Women
One's returning to TV, another is switching shows and they all have a lot to say about fight scenes, Twitter and going incognito at the annual convention.
THR: What is the best or craziest fan encounter you've ever had?
YVONNE STRAHOVSKI: I was at New York Comic-Con. I was the only castmember with our two creators, and somebody came up and gave me a teddy bear, and then it sort of started this whole thing where people wanted to gift me things at the table.
GELLAR: I'm a size 6-1/2 shoe …
Q: I love jewelry!
MORRISON: If you bring me jewelry, I will tweet you back.
ROBERTSON: I just started [tweeting] two days ago. It's scary.
TORV: I did it on our showrunner's account. I can't believe how the world changes.
THR: Do you have to tweet on behalf of your shows?
ROBERTSON: It's such a huge thing now. Social networking … really contributes to our numbers and fans and it just gets the word out there, so people are really into it. I'm trying to embrace it, but it's really scary.
STRAHOVSKI: I was like that at the beginning. I was scared of it, too.
Q: Facebook? I have no clue about it. MySpace, none of that. I'm the worst.
GELLAR: I think one thing for me coming back into this world is that I have to embrace the whole social networking. It's a way to get stuff about the really important parts of your show out and to include your fans. At the same time, I'm an incredibly private person. I have a family, and it's hard to sort of figure out what that balance is. … I used to tell people, "Don't read message boards."
TORV: I think genre shows are really the only place where it is so beneficial. I know that our writers, producers and showrunners sit and read Twitter and check out all of the boards, and it becomes this intellectual dance with the fans.
GELLAR: But it's also like, "He who speaks loudest gets heard."
TORV: You have always gotten feedback, but it's just so instantaneous now. I think that the filter they use is still the same filter that they would have used before. It's like everyone had such a big issue with reality TV when it first happened. It was like, "Oh my God, reality TV." But you look at it, and here we are. It means that scripted drama has to get better.
Q: It has to be more reality-based than it ever has been …
TORV: Well, no, I think it means that it could be heightened. I think what it means is because there is a lot of that reality stuff, you don't want to watch shows where people just stare at each other and say, "Yeah, then he dumped me." You want to watch stuff that's emotionally uplifting, heightened, fantastical or sci-fi.
THR: If you could do a superhero show, which would you do?
GELLAR: Don't feel pressure to say Buffy, guys.
THR: They tried to do a Wonder Woman pilot, and it failed.
GELLAR: Don't say failed. That's not fair to all the people who worked hard on it.
THR: It didn't get picked up. But is there a way to make Wonder Woman work in the 21st century?
TORV: Oh gosh, that's what I used to play when I was little. I would run to the end of the street.
THR: She's clearly an inspiration. Why can't they make a movie or TV show that seems to work for modern audiences?
GELLAR: Female is hard. That's the thing: There's a lot of pressure and the box office is still dominated by male-superhero movies, and a lot of times there's an attitude that Wonder Woman is strong, but Superman would still beat her.
STRAHOVSKI: Maybe the superhero thing is sort of fading out. I feel like all the vampire stuff is moving in, and the fairy-tale stuff now is taking over. … I don't know if it was the right time for Wonder Woman.
MORRISON: I also feel like there's just so much more attention on that project. There are however many other pilots that didn't get picked up, yet it's, 'Wonder Woman failed.'
GELLAR: And it doesn't mean that the show isn't good.
Q: The 1970s Wonder Woman was sort of a kitsch thing. It was a very specific time for that, and it's hard to modernize something like that. They tried to modernize the outfit, and it's pretty tough. … You can't have a woman running around in her underwear now. You can't do that. In the '70s, it was OK.
MORRISON: You need someone who has the kind of vision that a Jon Favreau has. Look at what he did with Iron Man. He took a strong point of view and had a superhero have a sense of humor about himself, and it really worked to translate it to the audience right now. Granted, that was a male superhero, but you need to have someone who has that kind of vision to be able to rework a story like that -- and then you have to have the right actor, the right production designer, the right everything.
GELLAR Joss [Whedon] tried Wonder Woman. If there's anyone who writes female, knows female superheroes and really knows how to make them accessible for everybody, it's Joss, and he struggled with Wonder Woman, too. So it seems like that is a difficult one to tackle.
THR: Has time passed her by, perhaps?
MORRISON: No, she'll find her moment. I feel like all of those things find their moment. It is just that now is not her moment.
Q: You know, if it ends with Lynda Carter, so be it. She did it right.