And I think I intrinsically don't believe it because I experienced it through Lynda as a kid, that feeling like I looked beautiful and was super strong at the same time. And it doesn't mean everybody has to be as beautiful as Lynda. It's about the feeling of being feminine and owning that. And then being just and powerful at the same time, that was super important to me. LC: I recall really having some very pointed discussions with the producers about not dumbing her down.
I won the argument eventually… it was about the complex nature of women, the complex nature of who we are. I still am what I was; I know how to be a kid and I know how to be the age I am now. I have that experience in me. I don't look the same, and I don't want to go back. It's your turn, and it's Gal's turn.
Who I am now is your cheerleader. PJ: You're a lot more than that, but I certainly think that that's such an incredible part of our threesome dynamic is an interesting dedication to the character and then to doing good in the world, however we may do it, in whatever role we're playing.
LC: You and Gal and I adore each other because we own a piece of the soul of this wonderful character. PJ: What amazes me about the spirit of that character is that it's never been about any of us.
LC: I will tell you something a little more self-deprecating. After the first episode of Wonder Woman , when the big pilot aired, I proceeded to march myself out to a big Mexican restaurant in the Valley. And I just walked in expecting everyone to recognize me—and no one did. I said, "Did you watch TV last night? PJ: When did they start to catch on? When did you start to get noticed all the time? LC: It was when I really started getting on covers of magazines and started doing things for Maybelline.
PJ: I can't even imagine what it was like for you. Random Comic. Explore Wikis Community Central. Register Don't have an account? Wonder Woman Lynda Carter. History Talk 0. Categories Wonder Woman Characters. If I gave you money, would you sell me your credentials? Impressively, a scam that works; Diana not only manages to get into the hospital, but remains in the Diana Prince identity as she transferred careers to a secretary at the Office of Strategic Services, which really should have had better security screening for its employees.
Times were simpler back then. Things changed significantly in , when the combination of changing audience tastes, falling sales and a new editorial regime led to a sweeping revamp of Wonder Woman as a comic book series and concept. Marston shrugged it off. Miss R. And never in psychology.
Gaines was troubled. Roubicek, who worked on Superman, too, had invented kryptonite. She believed superheroes ought to have vulnerabilities. Gaines then sent Roubicek to Bellevue Hospital to interview Bender. She feels that perhaps he is bringing to the public the real issue at stake in the world and one which she feels may possibly be a direct cause of the present conflict and that is that the difference between the sexes is not a sex problem, nor a struggle for superiority, but rather a problem of the relation of one sex to the other.
Bender believes that this strip should be left alone. Gaines was hugely relieved, at least until September , when a letter arrived from John D. Jacobs, a U. Which is swell, I say. Marston was sure he knew what line not to cross. Harmless erotic fantasies are terrific, he said. In , Gaines and Marston signed an agreement for Wonder Woman to become a newspaper strip, syndicated by King Features.
Busy with the newspaper strip, Marston hired an year-old student, Joye Hummel, to help him write comic-book scripts. Joye Hummel, now Joye Kelly, turned 90 this April; in June, she donated her collection of never-before-seen scripts and comic books to the Smithsonian Libraries. Her stories were more innocent than his. Gaines had another kind of welcome to make, too. Marston, Byrne and Holloway, and even Harry G.
Peter, the artist who drew Wonder Woman, had all been powerfully influenced by the suffrage, feminism and birth control movements. And each of those movements had used chains as a centerpiece of its iconography.
In , in Chicago, women representing the states where women had still not gained the right to vote marched in chains. More regularly, the art on that page was drawn by another staff artist, a woman named Lou Rogers.
Sanger hired Rogers as art director for the Birth Control Review , a magazine she started in But he was also determined to keep the influence of Sanger on Wonder Woman a secret.
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