It could be a medical drama like E.R. or the long-running Grey’s Anatomy, or an old show with which we grew up: after all, who hasn’t seen an episode of Happy Days or Friends? The truth is that each of us, in a binge-like or more relaxed way, watches television series. And that’s not even considering some of the shows that have changed how we conceive television, innovative in terms of images or language, from Lost to Game of Thrones, from Euphoria to White Lotus, from Downton Abbey to Bridgerton.
With the change of times and the arrival of streaming channels, the proposals have multiplied a hundredfold, but real communities of fans have also been created. The role of television critic has also successfully managed to adapt to these faster times: some have created a following and have become authoritative voices thanks to social media, but not only. One such critic is Daniele Giannazzo, a Florentine presenter, writer and creator with a precise and very personal focus on the world of cinema, TV series and entertainment.
Daniele Giannazzo and the birth of Daninseries
Ten years ago, before the spread of streaming services, the phenomenon of Instagram and TikTok, Daniele had already created a real community, bringing something original and suited to the spirit of the times to Italy. By managing to combine several styles and languages in an unprecedented and fresh way, he was a pioneer of the new way of talking about television series in Italy. He created Daninseries, a web community on the world of cinema and TV series, which has since become a benchmark. It has also been on newsstands since 2016 with the column MillennialZ – La opinione di Daniele Giannazzo in the historic monthly magazine CIAK.
But he is also the author of novels for Mondadori and has many projects in the pipeline. If there’s a personality you should follow in the world of television criticism, it’s Daniele. Forged by a passion for the visual arts, his creativity seems truly unstoppable and multifaceted. We interviewed him not only to get to know him better, but also to take stock of the situation of our favourite TV series.
«Everything, however, stems from a need: to find people “like me” who love TV shows. And years ago, before Netflix, it was really hard»
How did you approach the world of television series and when was this passion of yours born? And secondly, I’d like to understand how this has become a job, also and above all thanks to social media…
I’ve always loved TV shows, even when it was considered ‘lame’ to watch them. From the times of Buffy the Vampire Slayer, Dawson’s Creek and then The O.C., I first approached them as a simple fan, then at university I began to study both literary subjects such as Film History, Analysis and Television Criticism, but also economic subjects such as Entertainment Management and Marketing. I think they gave me the first foundations, along with my amateur culture, to create something personal and which then turned into a real job. Everything, however, stems from a need: to find people “like me” who love TV shows. And years ago, before Netflix, it was really hard. Daninseries was a happy niche, as it was (and fortunately still is) the meeting place for all fans of series in Italy.
From your point of view, what makes a series a potential success? Is there a formula that makes a series a media phenomenon in recent years?
All series genres have something in common: the writing. That’s the foundation, what everything is based on. You can sort of glaze over the rest sometimes. There are a lot of series today that look great, have excellent actors, but if they’re missing good, sound writing, the foundations are missing.
In these times of television overproduction, we say that it instead takes something extra to become a viral and media success: a combination of writing, originality and a touch of nostalgia that looks to the past and manages to capture as many targets as possible. Marketing and social media are key.
«In a landscape of sites and people who competed with the best reviewers and who only dealt with qualitatively excellent series, in my community you could watch and talk about everything»
What’s the first series you were truly passionate about as a viewer and what’s the first one that you approached from a professional point of view? Does Daniele the viewer have a series that he loves, but that Daniele the critic doesn’t like? In short: do the two always go hand in hand?
The first series that I really loved on a personal level was Charmed, because it reminded me of my childhood, the green sofa I sat on every night with my mom while we waited together for these three sisters who fought demons. They are still vivid sensations that warm me just thinking about it, which is why Charmed will always be dear to my heart.
I don’t remember the first time I addressed a series on a professional level, but in the end the approach doesn’t change much. What made Daninseries “something new” was the fact that in a landscape of sites and people who competed with the best reviewers and who only dealt with qualitatively excellent series, in my community you could watch and talk about everything. Aware that Twin Peaks is not Pretty Little Liars, but not letting this stop us from talking about them without acting like snobs, for many years a common characteristic of those who aspired to work in this world.
The most underrated and the most overrated series ever? The one that deserved more seasons and the one that went for the long haul?
I think one of the most underestimated series is Ugly Betty, which I personally considered full of good humour and feelings, but unfortunately not everyone shared my opinion. One that was overrated before it was even released, due to the expectations that the cast infused (ranging from Nicole Kidman to Bobby Cannavale and Melissa McCarthy), is Nine Perfect Strangers. A promising start that was lost in truly surreal dynamics and backstories.
Instead for the series that deserved more seasons, I’d still say Ugly Betty because I’m stubborn. Another series with a bit of the same spirit as Call me Anna or Fleabag, which I know is taken from a well-defined theatrical text, but you can never get enough of the talent of Phoebe Waller Bridge. Lastly there’s Riverdale, which was created under the best auspices, putting together a cast that on the screen and in life had and continues to have an excellent chemistry, but it has squeezed so much out of its characters and its dynamics that the spell was broken at some point, without its creators having had the courage to say so.
If you think about television shows, one of the most important awards is the Emmys. Some shows have won a lot of awards, but then you have to ask why such resonance? How much does critical acclaim and award winning influence the true success of a series?
There’s not always (indeed perhaps almost never) a truly democratic choice behind the winners of these awards, many times subverted by mechanics and calculations within the industry. That’s why after the awards shows, we often discuss the series or actors who were “snubbed” by these events. Before the advent of social media, these awards were also used to push titles and make them known to a wider audience. Today this power has been somewhat lost, and it’s the awards themselves that follow the wave of success, rather than the opposite.
«New generations love diversity, they are more curious and focused on finding out about what goes on beyond their borders, or what best represents them»
In your opinion, what changes in the approach to making television in Italy compared to abroad?
The money (laughs, ed). Let’s just say that very often we have the tendency not to dare and not to go beyond our own garden. We always see the same themes, with the same faces and the stories hardly manage to focus on more than one target, always addressing the same people. Although in recent years the Italian series have finally made that leap that has actually brought them closer to the levels of major international productions.
Some nations have recently grown a great deal from a television series point of view: I’m talking about Spain, but also South Korea. What in their creations attracts international audiences?
Unfortunately I’m not a great expert on K-drama, but it is one of my resolutions for 2023; I must hurry. I think that each country tells its own story, with its own style. I don’t think they do better or worse, but they arouse much more interest today because especially the new generations love diversity, they are more curious and focused on finding out about what goes on beyond their borders, or what best represents them.
«Social media has literally changed the way we make TV series, or at least some series genres»
There was a time when series focused on social media: is it still an important vehicle for this type of show or was it just a parenthesis?
Yes, I personally experienced that. It happened even before the arrival of streaming platforms and mostly with teen dramas. The Vampire Diaries, Pretty Little Liars (but also other series) took into account the opinions of the web and the writers also allowed themselves to be guided by popular sentiment, going to change the story a little compared to how they had initially conceived it. From there the terms “fanservice”, “ship”, “canon and fanon” were born. I still have nightmares about wars between different ships. Social media has literally changed the way we make TV series, or at least some series genres.
Instagram and TikTok versus TV series. Which earns the most? Which benefits the most?
It’s all a mechanism that feeds on itself and on each other, but undoubtedly TV shows. Series production has increased a hundredfold compared to ten years ago thanks to the advent of social media. Let’s just take the example of Mare Fuori, a series that exploded thanks to social media, to the point of attracting the attention of the other countries that have acquired its rights.
Daniele Giannazzo looks to the future: «I believe that this enormous overproduction of series will cease in time; we’ll go back to focusing on content and being selective»
How do you think the strikes currently underway will affect the world of TV shows in the United States?
That’s a good question. I believe that this enormous overproduction of series will cease in time; we’ll go back to focusing on content and being selective. Which isn’t necessarily a bad thing. This strike is creating incredible economic damage across the industry (not just the shifting of series or movies), but I think the struggles of actors and screenwriters are sacrosanct. Without going into detail, because I’d fill up another ten pages, I’ll limit myself to saying that I love the fact that Fran Drescher, from The Nanny, is leading the protests. Our Francesca Cacace. It’s like living in a simulation.
«I hope that what’s happening right now in the world of cinema and television will make us more sensitive to issues such as meritocracy or adequate economic recognition (and not only) at work»
What do you think will be the most important topics for the future?
The entire industry is currently experiencing a revolution right now: certainly the use of AI in this area will have to be regulated, which according to many could represent the death of cinema and creativity. Moreover, I hope that what’s happening right now in the world of cinema and television will make us more sensitive to issues such as meritocracy or adequate economic recognition (and not only) at work.
An actor or actress to rediscover and a name for the future?
If you’d asked me last year, I would have said Evan Peters, as I’ve been saying for ten years now. He had unfortunately been underestimated, despite his great talent; then with Dahmer everyone finally noticed him. Right now I’d say Louis Partidge, but because I dream of seeing him star in a hypothetical future film or series based on my novels.
What faces from past television series have influenced or affected you the most? Which ones have left the strongest mark and become industry trendsetters?
I have the same answer to both questions: Sarah Michelle Gellar, or Buffy. A series and a star who have made TV history. Buffy is a case study, it totally changed the concept of a series itself. Nothing has been the same since Buffy, and Sarah’s charisma – as well as Barbara De Bortoli’s wonderful voice in the Italian dubbing – accompanied me during my childhood. And this year I had a small dream come true when Paramount+ asked me to interview her.
«Travelling, especially combining your work with your passion, opens your mind and puts you in a position to constantly improve, or at least try»
What have you learned most from this craft? Tell us a fun story related to your work, and if you don’t mind, the biggest disappointment?
This job has taught me everything, professionally and personally. It has allowed me to visit incredible places and learn more about realities I never could have imagined learning about first-hand. Travelling, especially combining your work with your passion, opens your mind and puts you in a position to constantly improve, or at least try. What’s more, it leaves you with crazy, improbable memories: the amazing premiere of House of the Dragon in August 2022 with the Sky team, where we set fire and not the dragons. Or Tudum a few months ago with Netflix, which sent me to Brazil to represent Italy at their world event.
One story I’ll always happily remember is the switch from “behind the scenes” to “protagonist”. I was at the premiere of The Return of Mary Poppins and this woman who worked in the agency for Disney at the time, Giulia (who I call my Fairy Godmother), at a certain point asked me: «Why don’t you do the photocall?’». I, who had always been used to working behind a screen and had never put my face in front of it, timidly declined. But she literally grabbed me and threw me in front of the photographers, who began to shoot and scream at me: «Over here, this way, look up, look down». That was my first photocall, and I felt like the slightly nerdier version of Serena Van Der Woodsen. I haven’t ever stopped since then, it was the beginning of a new path.
The biggest disappointment, as always, comes from people. Both personally and professionally. There’s no solidarity in this industry, everyone pretends so much: people think that those who succeed have stolen the chance from someone else, when in reality there’s room for everyone, and if we all worked together, we’d all share more satisfaction. There are very few creators or press with whom I have established a sincere relationship over the years, but fortunately there are a few. In terms of work, it might even be worse.
I tried to get noticed for years both with my content and with objectively crazy numbers; but at jobs, events and in many other opportunities I always saw others passing ahead of me, often not even the right target, with lower numbers, but (perhaps) with the right knowledge or just because the right people liked them. I think this happens a bit everywhere, but what really got me down was the fact that I also could have had better results than anyone else, but it wouldn’t have been enough. It’s different for me now and for many others, perhaps because those responsible have begun to do some real research.
«After years of commenting on other people’s stories, I told myself that I wanted to create my own. That’s where the Roe trilogy came from. A story in which I put all my style and passion into the story, and it has given me more satisfaction than I ever could have imagined»
You’ve been writing books now, too. How has your work related to TV series influenced your writing and stories?
After years of commenting on other people’s stories, I told myself that I wanted to create my own, including everything I never found in books or TV series. That’s where the Roe trilogy came from, which began with Roe e il segreto di Overville. I put all my style and passion into the story, and it has given me more satisfaction than I ever could have imagined. I put all my knowledge in the field into it: the use of twists, the rhythm of the narration, and there are also numerous quotes from the most varied TV series within the book. I created a game with my readers: find all the direct and indirect mentions (character names, certain situations and scenes). Some have even succeeded.
Your new novel is called Se Fosse una Commedia Romantica, can you tell us about it? Is it related to previous stories or is it a completely new story?
It’s a new story, more adult, but always true to my style. It’s got tons of irony, lots of fun moments, but also that pathos and those twists that characterised the original trilogy. I don’t know if I can reveal the plot yet, but the protagonists are a brother and a sister and their unfortunate love lives, which will take them on a journey that will change them forever. I think I’ve already said too much, but I really hope that readers will be as excited about it as they were with Roe and that it will introduce a new audience to my work.
Daniele Giannazzo: «My aspiration is to bring my trilogy of novels to the big screen»
Do you have any long-cherished dreams and plans for the future?
My aspiration is to bring my trilogy of novels to the big screen. I have a lot of faith. I don’t know how long it will take but I’m convinced that it has everything it needs to become a cinematic (or television, since those are my roots) success. I would also like a programme of my own, where I mix interviews with actors, insights into cinema and TV series and a lot of fun. These are ambitious dreams, I know, but I’ll do everything in I can to make them come true.
You haven’t asked the question, and I know it’s a bit Miss Italia to do this, but I’d really like to take this opportunity to thank all the people who have been collaborating with me for years without ever leaving my side: Niccolò, Valentina, Leila, my entire team. Not least my parents, there was not a single moment in which their support was lacking, and this certainly contributed to all my success.
Credits
Editor in Chief Federico Poletti
Photographer Tito Hu
Stylist Margherita Mazzoletti
Make-up Cecilia Olmedi
Hair Davide Nucara
Photographer assistant Qi Haoyu
Stylist assistants Aurora Di Negro
