tukkek
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Also how much more successful as an actor can you be than lead a cult-classic pop-hit series for 7 years and become a timeless TV icon?
There are TV actors who manage to go from creating one iconic, long spanning role, then do it again with a different series; the really lucky ones even more. It's not necessarily easy, and there probably aren't many. Carroll O'Connor is one that comes to mind. Tim Allen seems to have struck a second round of mild success after Home Improvement, with Last Man Standing, along with several movie franchises. Bryan Cranston, David Douchovny, Courtney Cox, Bea Arthur, Betty White, Richard Dean Anderson, Matthew Fox, Michael J Fox, Alyssa Milano, David Hasselhoff, Larry Hagman.
nileqt87's post nicely summarizes a lot things about SMG and The Crazy Ones. I watched that series, and I tried to like it; and I think a major factor was that the actors really wanted to make it work. I felt like the premise was faulty from the start, as I wasn't convinced the setting of an ad agency was going to lend itself to many worthwhile, much less comical stories; without some outlandish liberties. In the end, too many of the characters were sort of stock characters, and the characterization they gave Sarah's role was all wrong for her. She clearly knows how to play someone who's a "hot mess," just based on Buffy alone, but it didn't seem like the writers had a firm grasp how to write that role, or most of the others; and arguably the only reason Robin's character might have exceeded those limitations, if it can be said it did, would arguably be a credit to Robin and whatever he probably added through improve, to make the character his own. Some writers manage to find the voice of a character, some don't; and the pitfall is that most actors stick to what's on the page, which really is what most actors should do. It's with great fortune that Robin's innate talents were recognized early in his career and encouraged; and in turn even some of the worst writing, or in instances where the writer fails to fully find the voice of the character, Robin was one of the few who can adapt and fill and bridge the gap between what's on the page and what's missing, to make the character fully realized. Sarah not doing that isn't necessarily a deficiency, as she's clearly a reasonably competent actor when given writing that can stand on its own without embellishment.
As for her overall career and why she hasn't seen further success after Buffy; it's anyone's guess. Type casting is certainly a very real thing, and possibly (probably) a factor. I hate that it is. The one example that always bugged me, for whatever reason, would be George Reeves being pigeonholed after playing Superman on TV; being cut out almost entirely from "From Here to Eternity," when he originally had a more substantial role, until a test audience began shouting, "there's Superman," whenever he came on screen. I usually find myself drawn to watch other movies or shows if I recognize a favorite actor from something else. It's how I started watching How I Met Your Mother, when they booked Sarah Chalke to guest star; which is ironic, because it's the one instance where I sort of held the type cast mindset against that series when I learned Alyson Hannigan was co-starring in it. For some inexplicable reason I didn't want to watch her move on to a new series so relatively soon after Buffy ended. I can't really explain that one...
The two examples of shows SMG starred in post-Buffy, The Crazy Ones, and Ringer, both seemed to be cases where they decided to cast "Sarah Michelle Gellar," instead of the person they felt fit best fit the role, who just so happened to be Sarah Michelle Gellar. I don't think they were so much banking on her name, per se, so much as the novelty, I guess. In my opinion though, I don't believe it should be all that hard to create a decent role that would be suited to her, if someone really wanted to, but then that argue could be made for Eliza Dushku too; which Joss Whedon tried to do with Dollhouse, and even he couldn't get that right (blaspheme, I know), so it's arguably easier said than done. Though maybe the Dollhouse points to an even simpler answer, which is that it is possible to overthink how you're writing for someone, if you're trying to tailor a character to an actor, instead of writing it to fit the story, and let the actor figure out how to embody the role.
“He lied to us through song! I hate when people do that."
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