After successfully finding the right formulas to bring "The Flash" and "Arrow" to television, Andrew Kreisberg is reinventing his own wheel when it comes to doing the same for "Supergirl." While "Supergirl" will share DC Comics as its source material and a fellow Executive Producer in the form of Greg Berlanti, both the series' tone and network will be different than Kreisberg's previous work.

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During a press roundtable at Comic-Con International in San Diego to tease the upcoming CBS iteration of Superman's cousin Kara (Melissa Benoist), Kreisberg revealed a solid sense of the approach his team is taking: a dash of lessons learned from the previous shows, a generous sprinkling of workplace-style comedy and fresh amount of female perspective.

How is this show going to be in the vein of what you've done before, and how is it going to be uniquely different?

Andrew Kreisberg: I think part of the mantra of "Flash" was heart, humor, and spectacle. And I think that this show has that. It's certainly much more akin to "Flash" tonally. But I think it's a little bit more grownup in some respects. And there's a whole aspect of the show, this sort of workplace comedy, which we've never really tried before in any other show.

And so actually just in the way that "Flash" has more moving parts than "Arrow" did, Supergirl has more moving parts than "Flash" did. And because it's about a female hero, some of it is very much the same. Because we're dealing with somebody who's sort of coming into their own, just as Barry did. But it's a whole different journey. It's a whole different journey for being a woman. It's a whole different journey for being a woman as a superhero. It's very different for her being a woman, moving through life as a 20 year-old. So for us, there's enough sort of things that we've done for us to like have a hold on the material. But then there's enough new stuff for it to still feel exciting and different for us.

Something we are exploring all the time is when you make a show about a Kryptonian, how do you make it that it's not a foregone conclusion that they're going to win every week? So part of the show is like, how do we hurt her, without everybody having to have Kryptonite. So her having a few physical [vulnerabilities] -- that's interesting.

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The 1984 "Supergirl" film starring Helen Slater has become a cult favorite over the years. Do you owe that audience anything?

Well, Helen Slater, which, as always, again, we're fanboys first. And some things were more successful than others, but Helen Slater, just like [TV's original Flash] John Wesley Shipp, is a tremendously talented actor. And regardless of whether she had an affiliation with Supergirl, you'd be daft not to want her to be a part of your project. But the fact that she has that...

And for us, what was so important about that scene [with her and Dean Cain in the pilot] is it was in a way almost protecting Superman because like, there wasn't a lot of time to sort of get into his head in that scene about why he decided to leave Kara with this family. And for us, it makes perfect sense. He was 25 years-old. He was starting out. He couldn't be Superman and have to take care of a child. He wanted her to have the same kind of upbringing he had. But you didn't have time to sort of express all of that. You really kind of see him giving her a hug and dropping her off. But I think the fact that he dropped her off with "Superman" and "Supergirl" -- Dean and Helen -- laid some of that track. Like, "Oh, she's going to be fine."

We have some great stories planned for the two of them, just like with John Wesley Shipp. They're going to be a continuing part of the show, and a similar resource to what the Kents are for Clark in various iterations. But then again, something different because they're really more her friends than they are her parents. She has parents. Kara remembers them. So it's a different dynamic, but just as interesting.

Is it going to be more of a serialized show or case-of-the-week approach?

There are some case-of-the-week elements, I think, like always, but for us, generally the seasons tend to start, no matter what show we're doing, no matter what year it is, with a few more villains of the week because what we're doing is you're laying the emotional foundation for what's to come later on as things become more serialized.

So there is an ongoing threat -- if you've seen the pilot, you know there's an ongoing Big Bad -- and watching the beginning is really watching Kara form her team and deciding what kind of superhero she wants to be. And then learning that her cousin has done it one way, but she can do it very differently.

How important is it that she reveals herself to the people around her right away?

I think, for us, the least interesting aspect of any of these shows for us to write is "Clark, Clark, you just missed it -- Superman was here." It was always, any time somebody found out -- like on "Arrow" when Dig[gle] found out, when Felicity found out, when Tommy found out, when Laurel found out -- like all of a sudden, everything got so much easier.

And that's why, quite frankly, from the very beginning of "Flash," we're like, "Iris is going to find out toward the end of this year because we're just not doing that any more." And so for this, there was a lot of discussion about whether or not we should let as many people in on it.

But for us, what we thought was so interesting was, at least the way we're sort of portraying Superman, we're portray him as much more of a loner, a lone figure and doesn't have as many resources, but that Kara doesn't want to do it that way. That she's more of a team-builder, and she has always these people in her life. And the thought that there was somebody who doesn't know... the most fun you get is Calista [Flockhart] not knowing, because there's lots of scenes where Kara's commenting on something Supergirl said, and Cat's like, "Ugh! Just like Supergirl!" All that stuff is fun, but we kind of keep it there. And for everything else, she can sort of be who she is.

"Supergirl" debuts October 26 on CBS.