Danielle Launzel

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DANIELLE LAUNZEL Costume Designer daniellelaunzel.com PROJECTS Partial List DIRECTORS STUDIOS/PRODUCERS YOU Silver Tree WARNER HORIZON / NETFLIX Season 3 Various Directors Wayne Carmona, Sera Gamble, Silver Tree Greg Berlanti THE BOLD TYPE Various Directors UNIVERSAL TELEVISION / FREEFORM Season 4 Sandrine Gros d’Aillon, Wendy Straker-Hauser David Bernad, Matthew McGuinness THE F**K-IT LIST Michael Duggan AWESOMENESS FILMS / NETFLIX Feature Film Don Dunn, Dan McDermott, Matthew Signer Michael Duggan I FEEL BAD Julie Anne Robinson PAPER KITE PRODUCTIONS / NBC Season 1 Various Directors Marc Solakian, Aseem Batra, Amy Poehler Julie Anne Robinson SPLITTING UP TOGETHER Dean Holland WARNER BROS. TV / ABC Season 1 Various Directors Emily Kapnek, Jeff Kleeman, Ellen DeGeneres THE MICK Randall Einhorn 3 ARTS ENTERTAINMENT / FOX Pilot & Season 1 Various Directors Caroline James, Randall Einhorn Nicholas Frenkel, Oly Obst SELFIE Julie Anne Robinson WARNER BROS. TV / ABC Pilot & Season 1 Various Directors Jill Danton, Emily Kapnek KIRBY BUCKETS Walt Becker DISNEY XD Pilot Skot Bright, Kristofor Brown WILFRED Randall Einhorn FX NETWORK Pilot & Seasons 1-4 Mark Grossan, Susan McConnell David Zuckerman, Paul Frank, Rich Frank SUBURGATORY Various Directors ABC Seasons 2-3 Jill Danton, Emily Kapnek FRIENDS WITH BENEFITS David Dobkin IMAGINE TELEVISION / NBC Pilot Victor Hsu, Scott Neustadter, Michael H. Weber MIDDLE AGE RAGE Julie Anne Robinson ABC Pilot Caroline James, Cheryl Holliday UNT. MARTIN LAWRENCE Fred Savage CBS Pilot Tony Carey, Michael Green, Sam Maydew TRUST ME Michael M. Robin WARNER HORIZON / TNT Season 1 Various Directors Patrick McKee, Michael M. Robin Greer Shephard INNOVATIVE-PRODUCTION.COM | 310.656.5151 .

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The Storyworld Dynamics of Supernatural
PRODUCTIONS / MARKETS / STRATEGIES ANGELS, DEMONS AND WHATEVER COMES NEXT: THE STORYWORLD DYNAMICS OF SUPERNATURAL FLORENT FAVARD Name Florent Favard the series with an analysis of its writing, production and Academic centre IECA, Université de Lorraine reception contexts, and divides the long-running series into E-mail address [email protected] four eras, each defined by a specific showrunner. It starts by exploring the context of the series’ creation, before KEYWORDS cataloguing the shifting dynamics of the storyworld during Storyworld; narratology; writing; ethos; showrunner. the four eras: the ‘stealth teleological’ approach of series creator Eric Kripke; the complex reconfigurations of the Sera Gamble era; the ‘mythology reboot’ of the Jeremy ABSTRACT Carver era; and the ever-increasing stakes and expansionist This paper explores the narrative dynamics of the fantasy dynamics of the Andrew Dabb era. The aim of this paper television series Supernatural (2005-) in order to better is to show how ‘periodising’ a long-running series by using understand how this particular program has become a close-reading and studying the dynamics of a storyworld backbone of The CW network. Combining formal and can expand and complete analysis focused on audiences contextual narratologies, it blends a close-reading of and the genesis of the text. 19 SERIES VOLUME IV, Nº 2, WINTER 2018: 19-26 DOI https://doi.org/10.6092/issn.2421-454X/8164 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X INVESTIGATING THE CW PRODUCTIONS / MARKETS / STRATEGIES > FLORENT FAVARD ANGELS, DEMONS AND WHATEVER COMES NEXT: THE STORYWORLD DYNAMICS OF SUPERNATURAL The Apocalypse has just been averted.
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MICHAEL BONVILLAIN, ASC Director of Photography
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ABSTRACT the Women of Supernatural: More Than
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Reach Highly Engaged Media/Ad Industry Decision Makers. Contact [email protected] for Details on Exclusive Ad Rates
August 2018 #46 __________________________________________________________________________________________ _____ New Fall TV Shows – the Good, the Bad, & the Too Bad By Steve Sternberg In today’s video world, the very idea of a fall TV season seems antiquated. For years, cable networks have debuted original scripted series throughout the year, most often in spring or summer when the broadcast networks typically air repeats or reality shows. OTT streaming services, such as Netflix and Amazon Prime Video, drop new series whenever they are ready to go. But the broadcast networks still have the most and the highest rated original scripted series (The Walking Dead notwithstanding), so as long as they continue to premiere so many programs over a two-week period in September, the new “fall season” will be relevant. I’ve been analyzing television programming for roughly 30 years, and have seen many good pilots flop, but also more than a few lackluster pilots build into hits. Increasingly, however, the latter is harder to come by. Long gone are the days when a Miami Vice can start out slowly and become a word-of-mouth success over the summer. Or a Seinfeld can take three years to find an audience and grow into an iconic hit. Or an Everybody Loves Raymond can start out on Friday with low ratings, move to Monday and become one of the highest rated comedies on television. The TV landscape is simply too competitive. These and many other long-running hits would have been canceled today after just a few episodes. Let’s hope the networks have the fortitude to give shows they believe in but are not instant hits a chance to build.
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