Showrunner Emily Andras and stars Melanie Scrofano, who plays Wynonna, and Natalie Krill, who plays Willa Earp joined us in a phone press conference.
I was wondering if you could talk a bit about Willa’s relationship with Bobo. Is it completely like a Stockholm syndrome type thing? Do you think she actually has legitimate feelings or was she kind of this sort of — I don’t want to say evil but this not-nice person from the very beginning that they just didn’t know?
Natalie Krill: Well, Emily can help me out with this, but I’ll say my perspective on it. I think that it starts out as a, you know, a Stockholm syndrome type of relationship, you know, falling in love with your captor. But then I think as their relationship grows on, it actually kind of reverses dynamic and Bobo is more at the mercy of Willa towards the end of it, I would say. What do you think, Emily?
Emily Andras: Oh, yes, I think that’s perfect. I think she definitely is the power player by the end.
Natalie Krill: Yes.
Emily Andras: It’s kind of a good question and I’m actually a little loath to commit. I think that’s one of the things that makes Willa such a delicious character and Natalie did such an amazing job portraying her. She remains a mystery. There are hints that when she was younger, she wasn’t necessarily the nicest kid. She was kind of a bully to Waverly. But at the same time, we’ve also seen that she was kind of, you know, subject to her own kind of psychological trials vis-à-vis her dad, who was training her to basically be a killer and he’s kind of a mean drunk. So, you know, it’s kind of a question we ask ourselves a lot about villains, is like, were they born or were they made? And with Willa…
Natalie Krill: Yes.
Emily Andras: …I would argue that it’s a little bit of both. You know, if I’m Wynonna though, I think the important thing is, this is someone that I love and she was clearly broken along the way and I did the right thing, which is I maybe put her out of her misery. But I think there’s still some story to explore in exactly what happened to Willa and why she went bad, so to speak.
Tony Tellado: Thank you. Ladies, it’s great to talk to you. The last episode was awesome. It really was.
Melaine Scrofano: Yay.
Natalie Krill: Thank you.
Emily Andras: Interview over, thank you.
Tony Tellado: Talk about putting a bow on the season and even leaving something open which I won’t spoil. But, you know, the — what I really liked about it is really kind of like the struggle going on between Willa and Wynonna, and trying to bring her, you know, to kind of bring her back in the fold a little bit. Talk about that, in filming those scenes and creating those scenes, what it was like.
Natalie Krill: Well, I’ll just say from Willa’s perspective I think she does love Wynonna deeply but what’s driving her is she thinks she’s doing something that’s for the greater good. So she’s a martyr. She thinks, you know, like nothing else matters because she’s going to save everyone, this — and this is what she has to do. You know, it doesn’t matter about her relationships and this and that, it’s just that she has to do this.
Melanie Scrofano: Yes, and the same thing for Wynonna, like, I think they’re both — they both really believe that their way is going to be the thing that saves the world so to speak. And — but it’s also that tricky thing of like for Wynonna, this her big sister who was her best friend and, you know, besides her father, this is who she idolized.
And to have — to be able to see her for what she is now is really difficult and really — it’s just sort of a — you know, there’s that block that happens when you love somebody and you don’t want see them honestly, which was really sad. And I hope I sort of answered the question. I have to apologize to everyone. I’m like in public and I — and so like people are passing by and I’m trying to…
Emily Andras: That’s perfect.
Melanie Scrofano: Yes, no, really I’m totally going to do this again. It’s working out well. Just kidding. It’s not. It’s awkward.
Emily: When you guys were talking about it you made me realize you girls are so smart. When you were talking about, you made me realize like, oh, my God, Willa and Wynonna kind of want the same thing. They both think they’re saving the world. And now that that’s what I intended. I’m going to be like yes, that’s what they want. That’s totally what I wrote but it’s not. You guys are way smarter. So see? Yes. Tony Tellado: And I’ll tell you, when people see the scene between you and the graveyard and, you know, I won’t get into specifics but both of you really brought it to that scene. It was really well done. And the show (leads the league) in WTF moments especially when you see the end
and actually — and Haught. Do you think Wynonna is getting to know Nicole Haught on her own terms will help when she inevitably finds out that she’s dating (Waverly). Melanie Scrofano: Yes, I feel like for Wynonna — I don’t know. I mean — like this is my interpretation. So and then — and what I love about what we do is that it’s open to interpretation. I feel like Wynonna just — if you’re a good person, she’s in. And if you’re a shitty person, she’s not in. And Officer Haught clearly is not a shitty person. And mostly she just wants like — like that’s her goal in life. One of her goals in life is to make — to make sure that her sister is OK and whoever is going to do that and do right by her, I think Wynonna is cool with. You know what I mean? Like she has — she has a — that’s the dog in her fight is like, you know, making sure Waverly is OK.
I’ve heard people say that your show sets an example as far as being able to treat your gay women with the respect that is not afforded of some other shows, especially since the death toll for fictional queer women is up to 20 this — so far this year. And I’m sure that’s almost double for women in general especially the infamous week in April where we had 10 in one week. My question is how would you say that your show differentiates from having to resort to that? Because most excuses of other shows are well, that’s just where the plot — that’s just where the plot ended up. I guess what I’m asking is what is your response to that and how does that influence your show? Emily Andras: Right. Well, first of all, I would never speak to the thought process of another show or another show runner or another writing room. I don’t know what excuse is given there. Yes, I just would never know. And like as a show runner, I always am careful to say there are a thousand, thousand things that go into any decision on a show, especially when you’re killing off a character. I do — I’m incredibly aware of the Bury Your Gays trope and was quite astonished at what happened in 2016 where we were basically losing lesbians left, right, and center. Like to be completely honest, it was pretty crazy. I’m hoping it was just a terrible, terrible coincidence and if nothing else, I think that there’s one good thing that came out of the destruction so to speak is that the Bury Your Gays trope really became front and center in the media.
It became something that we were talking about as a group and that is a good way to start making change. One thing I’m really proud about and that I really want to emphasize is that our show was written in its entirety and shot before of this went down. We’ve been finished since January 2015, so what may or may not have happened on the — no, it’s fine. I’m just like what may or may not have happened on other shows had no bearing on our shows. That being said, I’m lucky enough that I am a woman writing a genre who was involved with another show called Lost Girl amazing things with LGBT. Which did amazing things with LGBT representation. We were really proud that we had a bisexual lead who ultimately ended up with her female love interest and that was really important to us. And the well-versed in representation of the LGBT community on screen and also how passionate and dedicated and lovely that community is as fan base and how, dare I say, desperate to see themselves represented on screen in a way that feels fully fleshed out. They want to see themselves as three dimensional characters. They want to see them as different characters. Not every lesbian is the same. It’s the same way not every straight guy is the same. Although sometimes it feels like it. Whoa. As far as portrayal on screen. So I just feel like that I am lucky enough or I know what I want and I what I really like is to write three dimensional female characters, that is very much I think what makes Wynonna Earp work. We have a variety of women on the show who — from villains to straights, to lesbians, what have you, to cops, to sisters. So I think if you are just writing a variety of women on the screen, no one woman has to represent all women. And part of that is just want to give satisfying storylines that don’t necessarily end in destruction, because of who they are or who they love. So yes, I’m very aware of the trope. I know it’s a trope that’s very dangerous and needs to be addressed on television so it’s something that I’m very conscious of when I’m writing. And I hope more people are aware of it after this year. I really truly think you would have to be crazy not to know that this is something that we maybe should discuss and maybe do better at.
Special thanks To The SyFy Channel.
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