Sarah Michelle Gellar visited Comic-Con before thanks to her tenure as teen vampire slayer Buffy but she shared advice to her fellow female panelists visiting the massive genre fest in San Diego for the first time.

“I always say to actresses, if you haven’t been, this is going to sound really funny, but get a mask and take a look around,” Gellar told The Hollywood Reporter. “I’m serious! You get rushed into your panel and you come out of the backside and you never actually see the main hall. It’s pretty amazing.”

We have a blast with Justin Timberlake, Amanda Seyfried and Andrew Niccol for the little known In Time.

Justin Timberlake...really? YEP! The multi-talented actor who turned in a terrific performance in The Social Network, joins Red Riding Hood's Seyfried in the Niccol-directed and written film which also stars Cillian Murphy, Vincenet Kartheiser, Alex Pettyfer, Johnny Galecki and Olivia Wilde.

A major cast shake-up confirmed that Sienna Miller, William H. Macy, Brendan Fraser, Matt Dillon and Craig Robinson have left writer/director Charles Matthau’s adaptation of the Elmore Leonard crime novel Freaky Deaky.

Another contemporary, wise-cracking, drawling performer was the bold, blowsy and flirtatious Mae West who enjoyed titillating and shocking audiences with double entendre dialogue, sexual innuendo and a desire for sex, especially before the advent of the Hays Production Code. [One of her typical lines was: "Listen, when women go wrong, men go right after them."] Mae West starred in her own films, notably as a buxom burlesque queen and singer in an 1890s saloon in She Done Him Wrong (1933), and as a circus floozy in I'm No Angel (1933). She also appeared with Fields in their only film together: My Little Chickadee (1940).

W. C. Fields is known for his recognizable raspy voice, pool cue, oversized bulbous nose and nasal drawl, stove-pipe hat, flask of 100-proof whiskey and love of drink, caustic verbal wit and wisecracks, and irritable disdain for small children, animals, upper-class snobs and bullying wives. The vaudeville star was an inspired comedian, a master of visual gags, double-takes, casual asides and pantomime. His film debut was in the silent one-reel comedy short Pool Sharks (1915), in which he showed off his pool-playing ability, and his first sound feature film was Warners' (and First National's) pre-code musical comedy Her Majesty, Love (1931).

Once talkies emerged, the most famous and popular comedy team was the zany foursome of the Marx Brothers. They were the only real-life sibling comedy group in Hollywood history:

* the witty, wise-cracking, ad-libbing, absurdly-punning, caustic, fast-talking Groucho (famous for his crouched walk, mustache, cigar, round glasses and leering eyes)
* piano-playing, broken Italian-accented Chico, famous for distorted logic
* the mischievous mute-pantomimist/harpist Harpo (with an old taxi horn and numerous harp solos), known for chasing girls
* the straight-man Zeppo (who left the other brothers in 1933 after his performance in Duck Soup (1933), his fifth film)

One of the greatest and most-beloved of the comedy teams was the one of British-born Stan Laurel and the fat-faced Oliver Hardy, first purposely teamed together toward the close of the silent era by producer Hal Roach in the slapstick film Slipping Wives (1926). They had first met, by accident, during the filming of Lucky Dog in 1917. Director Leo McCarey at Hal Roach Studios recognized their potential as a team and capitalized on their contrasting, disparate physical differences (Stan: the "thin" man and Oliver: the "fat" one - each with derby hats) and classic gestures (bewildered head-scratching, tie-twiddling, eye-blinking and baby-like weeping).

Another popular, second-level slapstick comedian in the silent era who made hundreds of two-reel shorts from 1916-1924 for Vitagraph and for the B-picture company, the Chadwick Pictures Corporation, was the charming, white-faced, smiling, and clownish Larry Semon. He began film work at Vitagraph in 1915 as comedy short gag writer and then as director in 1916. His first feature-length film was also his best known and most influential work - a remake and adaptation of Baum's The Wizard of Oz (1925)

Harold Lloyd, a popular silent clown, has been dubbed the 'third' genius or master of silent comedy - after Chaplin and Keaton. [An actor/producer, he actually outgrossed his better-known counterparts, by retaining ownership of his films and their profits.] Like them, Lloyd also spent some time in the early years with Mack Sennett, became known for realistic, daredevil stunts, and for his bespectacled, neat, innocent, noble-hearted, 'average Joe' characters. From 1915-1921, he produced a number of short films for Keystone and for major comedy producer Hal Roach, playing the character of Willie Work (debuting in his first starring film Just Nuts (1915) as a Chaplin-like character) and Lonesome Luke (first appearing in Lonesome Luke, Social Gangster (1915)).

One of the great silent clowns of the early comedic period was Buster Keaton, known for acrobatic visual gags, physical action, and for his deadpan, unsmiling, expression-less "stoneface." (His first name was a nickname given to him by Harry Houdini after he fell down some steps.) Keaton was first a vaudeville performer, performing and partnering quite often with former Keystone star and mentor Roscoe "Fatty" Arbuckle. He entered the profession of film-making in 1917 at the age of twenty-one as a supporting player, in his film debut The Butcher Boy (1917). Then, he started his own production company and became an actor in his own production unit in many excellent short films (usually two-reelers) from 1920-1923, including One Week (1920), Neighbors (1920), The High Sign (1921), The Boat (1921), The Haunted House (1921), The Playhouse (1921), The Paleface (1921), Hard Luck (1921), and The Frozen North (1922), but none as a repeating character.