Skip to main content

Before the Door Pictures VRP

 

Before the Door Pictures is a media production company that was founded in 2008 by Zachary Quinto, Neal Dodson, and Corey Moosa, all three Carnegie Mellon University drama graduates.
Partners/Producers: Zachary Quinto, Neal Dodson, Corey Moosa
Filmography:
Abandoned
Biopunk (TV)
Brenner
Lucid
Mr. Murder Is Dead
Vivien Hasn’t Been Herself Lately
Never Here  2017
Aardvark 2017
A Must Violent Year 2014
The Chair (TV) 2014
Banshee Chapter 2013
All Is Lost 2013
Breakup at a Wedding 2013
Periods. 2013
Margin Call 2911
In the Media:
Zachary Quinto Reluctantly Seeks Help From Jenny Slate in ‘Aardvark’ (Exclusive Video)  |  Hollywood Report  |  April 20, 2017
Zachary Quinto’s Josh Norman has a problem.

“I have a condition. I have since I was 19,” Josh tells his therapist, Emily (Jenny Slate), in the above exclusive clip from Aardvark. “It doesn’t have a name, or at least all of the conditions that do have names aren’t a great match.”

Josh says that he does “perfectly fine at life.” But Emily counters that he “must want help” if he’s seeing her.

Aardvark, co-starring Jon Hamm, is set to have its world premiere at the Tribeca Film Festival this Friday (April 21).

The movie, written and directed by Brian Shoaf in his feature debut, follows Josh as his estranged brother, Craig (Hamm), a well-known TV actor, returns home for the first time in years. Stuck in his brother’s shadow and haunted by it, Josh seeks help from Emily, who develops her own connection to Craig.

Quinto and producing partner Neal Dodson produced Aardvark via their Before the Door Pictures banner, which has also produced films such as Margin Call, All Is Lost and A Most Violent Year. Susan Leber, who previously worked with Quinto and Dodson on Margin Call, also served as a producer.

Shoaf and Before the Door’s Corey Moosa executive produced Aardvark as did Robert Halmi Jr. and Jim Reeve.

Zachary Quinto & Neal Dodson Talk Forming Before the Door Pictures & ‘All is Lost’  |  SSN Insider  |  November 20, 2013

Before The Door Pictures, the production company founded in 2008 by Corey Moosa, actor Zachary Quinto and Neal Dodson, has quietly risen to become a credible Hollywood player.

Its inaugural film, 2011’s Margin Call, written and directed by J.C. Chandor, received an Oscar nomination for best screenplay, and this year the company is headed towards more awards recognition with Chandor’s follow-up, All is Lost. Set entirely on water, the film stars Robert Redford in a virtually silent one-man show that’s already being earmarked for Best Actor recognition.

Quinto and Dodson, who have been friends since high school, spoke with SSN about the success of their company and their mutually beneficial relationship with Chandor.

SSN: When you first created the company, what was the initial purpose for doing it?

Quinto: The idea was generated on the heels of my first season on Heroes, when I realized as an actor I had a platform that I hadn’t before. Then Star Trek happened and I realized there was a window opening for me that wouldn’t stay open forever. I wanted to seize that opportunity.

SSN: Was there a grand plan when you first got together?

Quinto: We didn’t have any idea what we were doing. (laughs) We just knew that we’d been friends for a very long time and there was an implicit trust and an investment in each other’s well being and success. We felt that was a good engine for beginning a creative venture. Any time where there was a crossroads, it’s that connection that we leaned into. It’s served us to this point.

SSN: How hard was it to have others take you seriously when you first started taking meetings for projects?

Dodson: It was certainly hard at first. We had a handful of meetings where Zach and I would leave and go, ‘Well they didn’t really want to take that meeting.’ Now that we’ve established ourselves, we’re not having to make that argument anymore.

SSN: Your two most prominent projects have been with J.C. Chandor. What is that relationship like?

Quinto: The great thing about our relationship with J.C., from a creative standpoint, is that it’s a mutual experience. [With Margin Call] we brought him an opportunity that he wouldn’t have otherwise had, and the success of that film brought us opportunities that we might not have otherwise had.

Dodson: He’s a great template for the kind of people we’re looking to work with. As we meet other filmmakers, the qualities we love about J.C. are things we look for in others—no drama queen screamers, no angry sets—just people who are collaborative, who have a secure vision in what they’re trying to do, and like working together to achieve it.

SSN: After Chandor directed Margin Call, did you have faith he could do something that was virtually a silent film set on water?

Quinto: It was one step at a time for all of us. We went into Margin Call not knowing if J.C. could direct that movie or if we could pull it off from a production standpoint … As a result, we started to trust that the ground would reveal itself under our feet if we just stepped forward with curiosity, confidence, and as much integrity as we could all muster under the circumstances.

SSN: When he comes to you with All is Lost, which is a complete 180-degree turn from Margin Call, what do you say?

Dodson: All Is Lost was a big risk for all of us. To be candid, we didn’t know [if] J.C. could direct it, we didn’t know if the movie was going to be any good … The fences J.C. set around that project—no land, no dialogue, 77-year-old leading man, no other actors—were all risk factors for sure.

SSN: When were you sure that what you had with the film was something good?

Dodson: It wasn’t until we were sitting amongst 2,500 strangers at the Cannes Film Festival. The movie ended, people stood up, and clapped and didn’t stop clapping for somewhere between nine and 11 minutes, depending on who you believe in the stopwatch department. So it was that moment that we thought, ‘Oh maybe this worked.’

SSN: Neal, you were the day-to-day producer on that film along with Anna Gerb. How do you decide who takes the lead on a project between you, Zach, and Corey?

Dodson: The great thing about having partners is that it doesn’t mean all of us have to be there for every moment of every single project. While I was making All Is Lost, Zach was in the middle of shooting American Horror Story, and Corey took the lead on a horror movie we have coming out called The Banshee Chapter … We all sweat out everything from casting to contracts to financing.

SSN: Zach, you were both the day-to-day producer on Margin Call and an actor in the film. How come you have not appeared onscreen in any other Before The Door productions?
Quinto: I was in Margin Call to establish my association with the company … I haven’t been in any of the films that we made since because I’ve been pursuing other goals as an actor.

SSN: Does Before the Door have any specific aspirations as a company?

Dodson:  So far, all our films have been fully independent, have all received releases, and we’ve given directors final cut. But in terms of where we’d like to go next, in addition to maintaining a sense of independence, we’d like to try our feet on a bigger studio project.

Quinto: It all comes down to material. All of us have similar enough sensibilities where we can recognize the projects that fit the parameters of what we want to accomplish creatively.

Working Title/Andrew Stearn VRP

 


Andrew Stearn Working Title Television
In Their Own Words:
Working Title Films, co-chaired by Tim Bevan and Eric Fellner since 1992, is one of the world’s leading film production companies.

Formed in 1984, Working Title has more than 100 films that have grossed over $6 billion worldwide, including over $1 billion at the UK box office. Its films have won 12 Academy Awards® (for James Marsh’s The Theory of Everything, Tom Hooper’s Les Misérables, Joe Wright’s Anna Karenina, Tim Robbins’ Dead Man Walking; Joel and Ethan Coen’s Fargo; Shekhar Kapur’s Elizabeth and Elizabeth: The Golden Age; and Joe Wright’s Atonement); 39 BAFTA Awards; and prizes at the Cannes and Berlin International Film Festivals.

Mr. Bevan and Mr. Fellner have been honored with the Producers Guild of America’s David O. Selznick Achievement Award in Theatrical Motion Pictures, the PGA’s highest honor for motion picture producers. They have also been accorded two of the highest film awards given to British filmmakers; the Michael Balcon Award for Outstanding British Contribution to Cinema, at the BAFTA Awards, and the Alexander Walker Film Award at the Evening Standard British Film Awards. They have also both been honored with CBEs (Commanders of the Order of the British Empire).

Working Title’s upcoming slate includes The Snowman directed by Tomas Alfredson, starring Michael Fassbender, Rebecca Ferguson and Val Kilmer; Baby Driver, directed by Edgar Wright, starring Lily James, Ansel Elgort, Kevin Spacey and Jamie Foxx; Darkest Hour, directed by Joe Wright, starring Gary Oldman as Winston Churchill; and Victoria and Abdul, directed by Stephen Frears, starring Judi Dench as Queen Victoria.

Working Title TV is based in London and LA and is a joint venture between NBC Universal International, Tim Bevan and Eric Fellner. The UK office is headed up by Andrew Woodhead, the LA office by Andrew Stearn.

The UK office is currently developing projects across all UK broadcasters and has excellent co-production relationships with US broadcasters including NBC, HBO, PBS, ABC and BBC America.

Recent productions include LONDON SPY starring Ben Whishaw, Jim Broadbent and Charlotte Rampling for BBC Two, 10-part series YOU, ME AND THE APOCALYPSE starring Rob Lowe, Jenna Fischer, Mat Baynton and Megan Mullally for Sky 1, and YONDERLAND for Sky 1.

Among our past productions are MARY & MARTHA, written by Richard Curtis, directed by Phillip Noyce and starring Hilary Swank and Brenda Blethyn, the critically acclaimed and BAFTA-winning BIRDSONG starring Eddie Redmayne and adapted by Abi Morgan, and BBC One’s hit Christmas film THE BORROWERS.

The US office has a first look deal with Universal Television and is currently developing projects for both broadcast and cable networks.

Andy Stearn is president of Working Title Television as of 2015. He was previously president of John Wells Production.
9720 Wilshire Blvd # 4, Beverly Hills, CA 90212  |  310.777.3100
Twitter: (10.6K followers) https://twitter.com/Working_Title
Wikipediahttps://en.wikipedia.org/wiki/Working_Title_Films

Recent Television Productions:

London Spy 2015
You, Me, & the Apocalypse 2015
The Secrets 2014
About a Boy 2014 – 2015
Yonderland 2013 – 2015
Mary and Martha 2013
True Love 2012
Birdsong 2012
The Borrowers 2011
In the Media:
Andrew Stearn Named President of Working Title Television U.S.  I  Variety  I September 8, 2015
Working Title Television has recruited Andrew Stearn, formerly president of television at John Wells Productions, to run its U.S. operation.

Stearn is set to join the company this week as president of Working Title Television U.S. He’ll work closely with Working Title Films founders Tim Bevan and Eric Fellner as well as Liza Chasin, Working Title’s president of U.S. production. His mandate is to work with creative talent and broadcasters on both sides of the Atlantic to develop a range of projects and co-productions.

Based in London and Los Angeles, Working Title Television is a joint venture between NBCUniversal International Studios and Bevan and Fellner. Stearn will work closely in that capacity with Michael Edelstein, president of NBCU International Studios, and JoAnn Alfano, exec VP of scripted programming.

Working Title has taken a few stabs at the U.S. TV market. It has a limited series, “You, Me and the End of the World,” set to air on NBC later this season. For the previous two seasons Working Title produced the adaptation of “About a Boy” for NBC.

“With his wealth of experience, (Stearn) is perfectly placed to advance our label’s potential in television production,” Bevan and Fellner said in a statement.

Stearn’s hiring follows the departure of Gina Girolamo, who joined Working Title in Los Angeles last October as exec VP of television. But she exited the company in July to return to Alloy Media, where she’d worked before signing on with Working Title.

“I am thrilled to be joining such a well-established and recognized production company,” Stearn said. “And I hope my collaboration with Working Title is as long and prosperous as my time with John Wells.”

Michael Edelstein, NBCUniversal International Studios president, called Stearn “a skilled executive who commands an encyclopedic knowledge of the TV business, with strong and established relationships with writers.”

Stearn spent more than 15 years with John Wells Productions, steering the company’s TV series and pilot development activity. He served as a producer on NBC’s “The West Wing” and “Third Watch” and as a exec producer of NBC/TNT’s “Southland” and Showtime’s “Shameless.”

“It’s been a pleasure working with Andrew Stearn through these many years and successes,” Wells said. “He’s a terrific executive who I’m sure will have much more success in the years to come.”

Blockbuster has survived in the most curious of places — Alaska

April 26

For families across the United States, driving to the local Blockbuster Video was a Friday night ritual. The kids fought over which movies to rent, parents had to pay off the late fees and all succumbed to the popcorn and candy buckets at the register.

Blockbuster once operated 9,000 stores nationwide, bringing in $6 billion in annual revenue at its peak. In 1989, a new Blockbuster was opening every 17 hours. But the image of the blue-and-yellow ticket stub logo now merely evokes nostalgia and memories of a time before Netflix, before online streaming, before some laptops eliminated DVD players altogether.

After a long decline, the video rental business declared bankruptcy and its new parent company — Dish Network — began closing all remaining retail locations in 2013. Netflix had won, and Blockbuster was dead. Or so Americans thought.

At least 10 known Blockbuster stores across the country have managed to stay afloat in the digital age. However, the largest cluster of Blockbuster stores are not on the mainland, but in Alaska, where dark, long winters and expensive WiFi have helped maintain a core group of loyal customers.

“A lot of them are still quite busy,” Alan Payne, a Blockbuster licensee-owner, said in an interview with The Washington Post. “If you went in there on a Friday night you’d be shocked at the number of people.”

Payne owns eight of the last surviving Blockbuster stores in the country, including seven in Alaska and one in Texas, employing about 80 people in total. He first purchased Blockbuster franchises in 2000, just years before the industry as a whole began to decline. At one point his Austin-based company, Border Entertainment, owned 41 stores across the country.

After the 2008 recession hit, and after Netflix began to emerge as a major threat, Payne and his team of managers said, “Okay, we’re going to do this as long as it makes sense.”

Business indeed took a tremendous hit, and sales have been on a continual decline. In 2013, 40,000 people were coming through Payne’s stores, and that number has now dropped to about 10,000. Just this week, one of Payne’s last two Blockbusters in Texas closed. He didn’t think his stores would last past 2016, but through a “managed downscaling” Payne has managed to keep them profiting, without making any cuts to employee salaries and without any support from Blockbuster’s owner, Dish Network. He simply pays a licensing fee to use the business name and logo.

“We just keep plodding along,” Payne said.

The stores’ survival has depended on aggressive real estate deals with landlords willing to offer short-term leases and reduced rent. It has required running the business “a lot differently” than Blockbuster ever did, avoiding what Payne calls “a contentious culture over late fees.” Unlike the old Blockbuster, Payne’s version never sends out invoices to customers for late fees; they are simply collected whenever they come into the store. But he has also refused to eliminate late fees entirely like Blockbuster did, a decision Payne calls the “final nail in the coffin.”

Still, a great deal of the business’s endurance has come from the core customer base in Alaska, primarily made up of older people. Alaska ranks high in disposable income among the states, due to good-paying jobs, exceptionally low taxes and payments from reinvested oil savings.

Moreover, Internet service is substantially more expensive than in most states, since most data packages are not unlimited, but rather charge by the gigabyte, as CBS News reported. Heavy Netflix streamers could end up paying hundreds of dollars per month in Internet bills, Payne said.

For this reason, a hefty 20 percent of sales in Payne’s Blockbuster stores come from rentals of TV shows — from the “binge watchers,” he says.

Alaska’s cold, long and dark winters also lend themselves to plenty of in-home entertainment, Payne said. The most profitable Blockbuster store is in bitterly cold Fairbanks, where temperatures can reach 50 below zero.

Most of Payne’s managers have remained in their roles for at least a decade, riding out the wave of closures and declining sales. If any of them were to leave now, Payne said, “it would be impossible for me to go out and hire a new management team.”

But Payne said, “They love the business, they want to see it to the end.” What has kept his managers around for so long is also what has kept Blockbuster alive — the interaction with customers.

“There’s not a whole lot of retail businesses that people go to because they truly want to,” Payne said. “When you went on a Friday or Saturday night to rent a movie … that was just fun.”

In fact, more than half of Blockbuster’s revenue is generated during a six-hour period on Friday nights, Payne said. “Most of our people remember those days, and it’s still fun to be there on a weekend.”

When asked why people keep coming to his store, Kevin Daymude, the manager of a Blockbuster outlet in Anchorage, said: “Easy. Customer service.”

“Everyone likes to feel like they’re special and that they can talk to someone face to face if they have a question,” Daymude said. He has known some of his regular customers for more than 20 years. Despite its challenges, he has stuck around because he still believes in Blockbuster, “our little company in the ‘Last Frontier’” Daymude said.

“When you go in the store, walk down the aisle, you’re going to see all kinds of things you never thought of,” Payne said. There’s something about finding a “diamond in the ruff” on a shelf that is simply more gratifying than scrolling on a computer screen.

Yet Payne accepts the reality that it’s only a matter of time before he is forced to close his Blockbuster stores for good. And for some loyal customers, the closure of a Blockbuster store cuts deep.

In Mission, Tex., Hector Zuniga’s parents would rent movies for him twice, even three times a week from their nearby Blockbuster. Hector, 20, is autistic and nonverbal, and though he has trouble communicating, he always had a way of telling his family when he wanted to go to Blockbuster.

He simply said, “Barney,” according to his brother, Javier, 19.

When his parents told him the Blockbuster in Mission, Tex., would be closing, Hector was heartbroken, and confused. Knowing how much Hector loved the store, and how accustomed he was to visiting it as part of his routine, his parents came up with a solution: They decided to create a mini-Blockbuster in their home.

When they revealed the surprise this week, Hector began to smile, laugh and clap, Javier said. In their home, the parents had set up a display rack, complete with a Blockbuster sign, and stocked the shelves with movies they purchased in the store’s closing sale. Among the movies were all of Hector’s favorites: Elmo, Veggie Tales, Rugrats and, of course, Barney.

Conservative students file suit against U.C. Berkeley over Coulter event

160912_ann_coulter_2_bm_1160.jpg
The controversy over Ann Coulter’s appearance erupted when two groups announced plans for an upcoming speech by the best-selling conservative author. | Bridget Mulcahy

Conservative students file suit against U.C. Berkeley over Coulter event

BERKELEY — Charging that the University of California has attempted to “restrict conservative free speech’’ regarding author Ann Coulter’s appearance on campus, two Berkeley student groups filed suit Monday in federal court to challenge the university’s efforts to reschedule her April 27 event.

The lawsuit filed in the U.S. District Court of Northern California on behalf of two organizations — the national Young America’s Foundation and the UC Berkeley College Republicans — names UC President Janet Napolitano and university officials, including the head of the campus police department, as defendants.

San Francisco attorney Harmeet Dhillon, a Republican National Committee member who is representing the student groups, said in an interview that progressive leaders including Sen. Bernie Sanders, former San Francisco Mayor Willie Brown, and Rep. Keith Ellison have all spoken up for the right of the student groups in Berkeley, the “birthplace of the Free Speech Movement” to schedule Coulter’s address.

“It’s the right thing to do,” she said. “The students have a right to hear different voices on campus. They have a right to invite speakers we have a right to hear.”

Her suit maintains that UC Berkeley officials “freely admit that they have permitted the demands of a faceless, rabid, off-campus mob to dictate what speech is permitted the center of campus during prime time — and which speech may be marginalized, burdened, and regulated out of its very existence by this unlawful heckler’s veto.”

The controversy over Coulter’s appearance erupted when the two groups announced plans for an April 27 speech by Coulter, a best-selling conservative author.

University officials, citing recent politically-generated violence on campus and in the city, at first said they had received information that suggested Coulter’s personal safety would be at risk and canceled the event. Then they rescheduled the event for May 2 — prompting both the conservative groups and Coulter herself to balk, contending that the new date, during the university’s “dead week,’’ was unacceptable.

University officials did not immediately respond to requests for comment.

Dhillon’s filing charges that at one of California’s leading public universities, UC Berkeley officials have consistently aimed “to restrict and stifle the speech of conservative students whose voices fall beyond the campus political orthodoxy.”

“Though UC Berkeley promises its students an environment that promotes free debate and the free exchange of ideas,” the lawsuit argues, it has “breached the promise” simply because that “expression may anger or offend students, UC Berkeley administrators, and/or community members who do not share Plantiffs’ viewpoints.”

Coulter, on Twitter, announced “our lawsuit” Monday, but Dhillon told POLITICO that she does not represent the author — only the two student groups seeking to schedule her talk.

Broadway Video VRP



Broadway Video is an American multimedia entertainment studio founded by Lorne Michaels, creator of the sketch comedy TV series Saturday Night Live and producer of other television programs and movies.

In Their Own Words:
Broadway Video is a global entertainment and media company founded by Lorne Michaels. Launched in 1979 in New York’s historic Brill Building, Broadway Video has grown into an independent studio that produces and distributes original comedic content for every platform.

Company Size: 51 – 200
Founded: 1979

Offices:
1619 Broadway, New York, NY 10019  |  212.265.7600
30 Rockefeller Plaza, New York, NY 10112  |  212.664.5700
9401 Wilshire Blvd, Beverly Hills, CA 90210  |  310.7460300

Executive Producer/Founder – Lorne Michaels
CEO – Jack Sullivan
President, Broadway Video Ventures – David Birnbaum
Chief Creative Officer, Branding and Creative – Elaine Cantwell
President, Above Average Productions – Jennifer Danielson
President and Managing Director, Production Services – Stacey Foster
Chief Communications Officer – Cristina McGinniss
EVP – Kathryn Miller
President, Broadway Video Enterprises – Britta von Schoeler
President, Broadway Video Television – Andrew Singer

Websitehttp://broadwayvideo.com/

Wikipediahttps://en.wikipedia.org/wiki/Broadway_Video

Twitter: (6.5K followers) https://twitter.com/broadwayvideo?lang=en

Facebook: (1.1K likes) https://www.facebook.com/BroadwayVideo/

Broadway Video Film Slatehttp://broadwayvideo.com/film/
Broadway Video TV Slatehttp://broadwayvideo.com/television/
Filmography:
Untitled Mike O’Brien Project (TV) 2017
Detroiters (TV) 2017
Masterminds 2016
Whiskey Tango Foxtrot 2016
Maya & Marty (TV) 2016 –
American Odyssey (TV) 2015
Documentary Now! (TV) 2015 –
Man Seeking Woman (TV) 2015 –
The Tonight Show Starring Jimmy Fallon (TV) 2014 –
Hot Rod 2007
30 Rock (TV) 2006 – 2013
Mean Girls 2004
Saturday Night Live (TV) 1975 – 2017
[additional credits, approximately 200]

In the Media:
Comedy Central Renews ‘Detroiters’ for Season 2  |  Variety  |  March 20, 2017
Comedy Central has renewed “Detroiters” for a second season, Variety has learned.

The series, currently in the middle of its first season run, stars real life best friends Sam Richardson (“Veep”), from Detroit, and Tim Robinson (“Saturday Night Live”), from Metro Detroit, as small-time ad men in the Motor City. Executive produced, created and written by Richardson, Robinson, Joe Kelly, and Zach Kanin, and executive produced by Lorne Michaels, Jason Sudeikis, and Broadway Video’s Andrew Singer, Season 2 will premiere in 2018.

“Sam and Tim’s sweet, goofy friendship is so infectious, we’ve noticed people being nicer to each other,” said Comedy Central president Kent Alterman. “Perhaps we’ll set Season 2 in D.C.”

The guest star list for Season 1 is packed, including Sudeikis, Obba Babatunde, Michael Che, Comedian CP, Steve Higgins, Richard Karn, Rick Mahorn, Keegan-Michael Key, Kevin Nash, Wendy Raquel Robinson, Cecily Strong, Trick Trick, George Wallace, and Malcolm-Jamal Warner.

Ratings for cable series are less and less a straight barometer for renewal; “Detroiters” has thus far fared no worse than other new cable comedies that have been renewed, averaging a 0.2 in the 18-49 demo and an audience of 381,000, with those numbers showing the usual double-digit increases with delayed and digital viewing. Critical consensus was a strong vote of confidence for the series. Variety‘s Sonia Saraiya called it “a bizarre, rollicking joy to watch. As is fitting for a show named after a place, ‘Detroiters’ is a state of mind — a nice place to visit and stay awhile, to enjoy the world in a completely different headspace.”

Lorne Michaels’ Above Average Digital Comedy Studio Raises $15 Million from Turner, Advance Vixeid Partners  |  Variety  |  July 20, 2016
Above Average, the digital comedy studio formed by Lorne Michaels’ Broadway Video, has raised $15 million in funding from Turner Broadcasting and Advance Vixeid Partners, the independent investment arm of Advance Publications and Conde Nast.

Above Average, which launched in 2012, produces web series and content — with a good portion of it featuring talent from Broadway Video’s flagship franchise, “Saturday Night Live” for NBC.

“While digital-first with a talent-first philosophy, we are both a publisher and a studio creating premium smart comedy for talent, audiences and brands,” said Jennifer Danielson, president of Above Average. “This funding further validates our efforts and productions, and we’re excited about the new opportunities for growth it provides.”

Productions from Above Average include “Alec Baldwin’s Love Ride” (pictured above), featuring the actor providing relationship advice to guests in a New York City cab; “Sound Advice” with “SNL” cast member Vanessa Bayer playing an image consultant to musicians; “Seven Minutes in Heaven”; “Hudson Valley Ballers”; and “Everyone’s Upstairs Neighbors.” Its content is distributed across multiple platforms, including YouTube, NBCUniversal’s Seeso, Vessel and Google Play.

In addition, Above Average has launched The Kicker, a sports comedy online destination from Bryan Tucker, co-head writer of “SNL,” and it also produces branded content for advertisers.

Above Average is led by Danielson, who began working at Broadway Video in 2001. Other key execs include Marc Lieberman, VP of biz dev, who formerly worked for the Onion in the same capacity, and director of development Josh Poole, who before joining the company in 2012 worked in production and development at MTV.

Above Average, which has a staff of about 60, is based in New York. Its tagline is “The Internet’s last hope for comedy,” with competitors including Funny Or Die, the Onion, College Humor and Turner’s recently relaunched Super Deluxe. The venture’s funding was first reported by Recode.

So I was up in Alaska

April 18

Up to Alaska last week to visit old friends and relive fragrant memories of previous trips. Landing on a short uphill grass strip near a native village and later taking off on that strip and off the edge of a cliff. Fishing in a fjord near Juneau as a dark enormity rolled up from the deep, a humpback 30 feet off starboard. Encountering a moose while biking around Anchorage. Sitting in a friendly cafe in Sitka that felt like family. Hiking the Iditarod trail and seeing the body of a moose who broke through the ice of a lake and drowned. Going to the state fair in Palmer and mingling with Alaskans in a state of euphoria produced by sunlight.

It is a state that one remembers long afterward.

Last week I sat in a little cafe in Anchorage and got into conversations by the simple device of asking directions. In a state that offers so much solitude, people are happy to talk. I met a couple who’d lived for many years in the mountains east of there, raised two kids, got divorced and now live a few blocks apart in the city. “We’re still best friends,” she said cheerily, and he gave her a wan look. He is still in love with her, he said, and wants to get back together, and she isn’t interested. Instead of directions, you get a novella.

I met a Tlingit woman who gave me her unvarnished views on Alaska politics and an old trucker who hauled materials for the pipeline, and finally quit, fed up with the rules and regulations. His first truck was a White, a good truck, and he wound up driving a Peterbilt, which he hated. “Never buy a truck that is on the assembly line on Friday and they finish it on Monday,” he said. He was once fined $250 in Arizona for speeding; the highway patrol sent him a picture of his truck taken by a roadside camera on the desert that also recorded his speed, and he sent them a photo of $250 arranged on his kitchen table.

I was sitting in my hotel room in Anchorage on Wednesday morning, when someone yelled, “Open up! Open the door!” I opened the door. Two uniformed officers stood there. It wasn’t me they wanted. They were yelling at the door next to mine. One cop had a revolver drawn, aimed at the next door. Another cop yelled, “Open the door now! And keep your hands where we can see them!” Police can yell really loud and their diction is quite clear.

An officer with an assault rifle stepped into my room and said that they had a warrant out for a man next door and that the man had announced he had a gun. The officer opened the door to my balcony and suggested I go into the hall. So I stepped out, barefoot, without glasses, in jeans and a T-shirt. Seven officers stood in the hall, including a slight young female, and four of them had guns drawn, including her, and were focused on the door next to mine. They were on high alert. I slipped past the uniforms and none of them glanced at me. The one closest to the door yelled again, “Open the door! Now!”

I’m a civilian. I lead a casual jokey life. I mess around. I wouldn’t know how to bring that steady intensity to bear on a closed door. That’s just a fact. I can do panic; I don’t do high-focus readiness. If I am responsible for your security, you are in serious trouble.

They got their man. He surrendered and was handcuffed and I got a glimpse of him in the hall, a skinny guy with a hangdog expression, wanted for drug dealing. He had been dealing out of the hotel room. Whatever drugs he himself was on were not a kind that make you smarter.

Nobody I talked to in Alaska began a sentence with “I was reading an article the other day that said that . . . ” — everything they said was from their own experience. This is different from the world I live in, of people tuned in to media. I can say from my own experience that an armed man dealing drugs in the next room is a danger to me and that I maintain my casual jokey way of life thanks to public servants whose training enables them to bring highly focused attention to bear. That’s what I know.

Garrison Keillor is an author and radio personality.

Anonymous Content VRP

Anonymous Content 

 

 
Anonymous Content is an entertainment company founded in 1999 by CEO Steve Golin. It is based in Los Angeleswith its offices in Culver City and New York City.
In Their Own Words:

Founded in 1999 by CEO Steve Golin, Anonymous Content is a production and management company where talent comes first. We manage exceptional directors, writers, actors, and comedians, and work closely with them to achieve their goals, whether in feature films, television, commercials, music videos, or brand integrated content. We guide careers with confidence, relying on our experience in every area of the changing media landscape. Alongside our distinguished clients, we continue to grow our outstanding reputation in the entertainment and advertising industries.

3532 Hayden Ave, Culver City, CA 90232  |  310.558.3667
Size: 51 – 200

Founded: 1999

CEO/Founder: Steve Golin
Partner/Manager/Producer: Michael Sugar

Partial Filmography:
13 Reasons Why (TV) 2017
The OA (TV) 2016 –
Berlin Station (TV) 2016 –
Quarry (TV) 2016 –
Collateral Beauty 2016
Mr. Robot (TV) 2015 –
Schitt’s Creek (TV) 2014 – 2017
The Knick (TV) 2014 – 2015
The Revenant 2015
True Detective (TV) 2014 – 2015
Spotlight 2014
The L Word (TV) 2004 – 2009
Winter’s Bone 2010
Babel 2006
Eternal Sunshine of the Spotless Mind 2004
[additional credits, approximately 200 total]
Notable Clients:
Robin Wright
Emma Stone
Melissa Benoist
James Franco
Ryan Gosling
Samuel L. Jackson
Matt Bomer
Stanley Tucci
Michael Keaton
Edgar Wright
Peter Skargaard
John Lithgow
Twitter: (12.3K followers) https://twitter.com/anoncontent
Facebook: (14.8K likes) https://www.facebook.com/AnonContent/
In the Media:
Anonymous Content Nabs Rights To Stephen & Owen King’s Novel ‘Sleeping Beauties’ For TV Series Adaptation  |  Deadline  |  April 4, 2017
In a very competitive situation, Anonymous Content has landed the rights to Sleeping Beauties, the upcoming supernatural/suspense novel by horror master Stephen King and his son, Owen King. Anonymous will be partnering with the Kings to develop Sleeping Beauties as a TV series.

Set for a September release by Simon & Schuster‘s Scribner, Sleeping Beauties takes place in the near future in a small Appalachian town whose primary employer is a women’s prison. Something happens when women go to sleep; they become shrouded in a cocoon-like gauze. If they are awakened, if the gauze wrapping their bodies is disturbed or violated, the women become feral and spectacularly violent. And while they sleep they go to another place. Meanwhile, the men are abandoned, left to their increasingly primal devices. One woman, the mysterious Evie, is immune to the blessing or curse of the sleeping disease. Is Evie a medical anomaly to be studied? Or is she a demon who must be slain?

Oscar-winning producer Michael Sugar (Spotlight) and Ashley Zalta will executive produce the series for Anonymous Content. Sugar and Zalta also are executive producing Netflix’s mystery drama series The OA,recently renewed for a second season, and the high-profile upcoming Netflix series Maniac, starring Emma Stone and Jonah Hill with Cary Fukunaga directing, which is set to go into production at the end of summer. Sugar’s series credits also include Cinemax’s The Knick and Netflix’s 13 Reasons Why.

Stephen King has published more than 60 novels, books and short-story collections, which have sold 350 million-plus copies. Many have been adapted for film and television, most recently features It and The Dark Tower, limited series 11.22.63 and the upcoming horror series Castle Rock, both for Hulu with J.J. Abrams’ Bad Robot.

Owen King and his brother, fellow writer Joe Hill, are developing their original feature script Fade Away as a television series for Miramax and Miguel Sapochnik. Owen King is also co-writing with Mark Poirier Alien Invasion for Constantin Film based on their graphic novel.

Stephen King is repped by Paradigm. Owen King is repped by the Lynn Pleshette Literary Agency and Thruline Entertainment.

Room’s Lenny Abrahamson Lights Up FBI Siege Tale ‘Burning Rainbow Farm’  |  Deadline  |  March 22, 2017
Anonymous Content, Element Pictures and Film4 have optioned the Dean Kuipers book Burning Rainbow Farm, and will develop it as a directing vehicle for Room helmer Lenny Abrahamson. Playwright Cory Finley, who made his directing debut with the Sundance pic Thoroughbred, will write the script. It is the true story of two marijuana advocates who were gunned down by the FBI after a five-day standoff. Anonymous Content’s Adam Shulman and Mad Dog Films’ Alix Madigan will produce with Element’s Ed Guiney and Abrahamson. Steve Golin and Andrew Lowe will be exec producers alongside Film4’s Daniel Battsek.

Rainbow Farm was a peaceful, pot-friendly haven in rural Michigan, hatched in the 1990s by life partners Tom Crosslin and Rollie Rohm. Their annual hemp and music festivals led them toward becoming a catalyst for marijuana legalization in the state. Their festivals were well attended and High Times magazine judged the farm one of the top stoner travel spots in the country. But Crosslin and Rohm grew increasingly bold with their cultivation of marijuana plants. After an accident involving a teen attendee of one of their festivals who crashed his car and died, the farm was raided and the hippie couple was charged with possession of a firearm and for cultivating 200 plants. Their son was removed from their home and placed in foster care.

In an act of defiance, Crosslin and Rohm skipped their appointed court date on their criminal case, and torched Rainbow Farm. County officials called the FBI. A five-day standoff erupted, with shots fired,  and the couple was eventually shot dead. The siege might have created more of a public outcry, but it happened days before the 9/11 terror attacks. The book was published in 2006.

“I’ve always been fascinated by the tension in U.S. political discourse between various ideals of personal liberty and the perceived threats against them from the state,” said Abrahamson, who was Oscar-nominated for his last film, Room. “The intensely moving and tragic story of Tom and Rollie and the fate of Rainbow Farm, brilliantly captured and contextualized in Dean Kuiper’s excellent book, is a vivid and compelling way of dramatizing a fundamental fracture which continues to define U.S. society today. I’m delighted to be working with such great producers as Alix and Adam, alongside my partner Ed Guiney and very excited to be collaborating with Cory Finley, who is an exceptional talent.”

Finley’s Sundance debut Thoroughbred was acquired by Focus Features after its premiere.

Abrahamson is represented by WME and Casarotto Ramsay; Finley by ICM Partners. Element previously teamed with Film4 on Room and also The Lobster, and Anonymous Content’s credits include Spotlight and The Revenant.

Anonymous Content Sells Minority Stake to Laurene Powell Jobs’ Emerson Collective  |  Variety  |  September 30, 2016
Laurene Powell Jobs’ Emerson Collective has bought a minority stake in powerhouse management-production company Anonymous Content.

Anonymous, founded by producer Steve Golin in 1999, has been shopping for a minority investor in the company for the past few months. With the investment, Anonymous and Emerson will focus on developing “socially-relevant” film, TV and digital content.

Anonymous has come on strong on the production side during the past few years with high-profile TV shows such as “True Detective,” “Mr. Robot” and “The Knick.” The company was also behind the two heatseekers of the 2015-16 film awards cycle, “Spotlight” (which won the best picture Oscar) and “The Revenant.”

“It is an honor for Anonymous Content to be partnering with Laurene Powell Jobs and the Emerson Collective team,” said Golin, who is CEO of Anonymous. “Emerson Collective shares our commitment to creating high-quality content that both entertains and inspires, and we are eager to help further their bold initiatives. Our partnership will expand opportunities for our clients and Anonymous Content to highlight issues of social justice and produce projects that can serve as agents of change.”

Golin and his partners Michael Sugar, Doug Wald, Eric Stern and Diane Janicki will continue to run the privately held Anonymous, which is based in Culver City. Emerson will have representation on its board of directors.

The success with TV series has revved up the financial momentum at Anonymous. The company retained Guggenheim Securities earlier this year to shop for investors to allow the company to further expand its scope and capitalize on the insatiable demand for high-end content. In addition to management, TV and film production, Anonymous has a prosperous commercial and branded content division that works with blue-chip advertisers such as Coca-Cola, Prada and Nike.

Endemol Shine, Paramount Pictures and ITV are among the traditional entertainment companies that took a serious look at investing in the company. But Anonymous was asking for $100 million for a 49% minority interest — which translated to a sky-high earnings multiple. And that made it an uphill climb for getting a deal done.

Reps for Anonymous and Emerson would not discuss financial terms. But a source close to the situation said the valuation of Anonymous in the deal with Emerson came in considerably higher than $100 million.

The Palo Alto, Calif.-based Emerson Collective, a philanthropy-focused LLC, has been moving into the media and entertainment arena. Last year it invested in Macro, the production venture launched by former WME agent Charles King. Powell Jobs is the widow of Apple co-founder Steve Jobs.

“Emerson Collective believes in the power of storytelling to shape our culture and improve lives,” said Powell Jobs, who is president of Emerson Collective. “We’re thrilled to partner with Steve and his talented team at Anonymous Content to create films, television and digital content that can inspire change.”

Emerson Collective is named after the 19th century Transcendentalist writer and philosopher Ralph Waldo Emerson. The org’s goal is to “remove barriers to opportunity so people can live to their full potential.” Emerson’s focus to date has been on education and immigration reform, as well as environmental concerns.

In addition to Guggenheim, Anonymous was advised in the sale by a team led by Robert Haymer at Latham & Watkins.

Justin Sayre Mini-VRP

 

Justin Sayre is best known as the creator and host of The Meeting* of the International Order of Sodomites, the acclaimed comedy/variety show. The Meeting* was named among the Top nightclub shows of 2013 by Time Out New York, and received the 2012 Bistro Award for “Comedy Artistry” and a 2011 MAC Award nomination for Best Male Comedy Performance.

He was described by Michael Musto in The Village Voice as “Oscar Wilde meets Whoopi Goldberg.” In a recent story for Edge New York, Steve Weinstein said ”Comedian, raconteur, performing artist, gay rights activist and sexual outlaw: I’m not sure Justin Sayre is classifiable. The veteran performer is on his way to becoming a Downtown Manhattan institution along the lines of Charles Ludlum or Charles Busch.” Justin is a child of Forty Fort, Pennsylvania who demonstrated a supernatural instinct for “camp” at an early age. With a voice straight out the MGM finishing school for girls, he moved to New York believing it was still 1947. He was terribly misinformed.
As an actor, he has worked and studied with some of the finest professionals in the city. As a comedian, Sayre is regular guest at Homo-Comicus at the Gotham Comedy Club and contributing writer to Murray Hill’s ShowBiz on MTVX. As a gay, Justin has excelled at scarf placement, devilish quips, and a healthy but firm love of the American musical.
An evening of his short plays, Justin Sayre Is Alive and Well… Writing – called one of the “Top 10 Events on the New York Stage” by the New York Daily News – sold out two shows at Ars Nova in 2012. Sayre’s play, The Click of the Lock, was a finalist for the Eugene O’Neill Theater Conference and debuted at The Cherry Lane Theatre starring Randy Harrison. Sayre is a contributor to The Huffington Post and Flavorwire, as well offering playful and witty love advice at The Date Report. He is currently a staff writer for 2 Broke Girls on CBS-TV and is writing a young adult book, which was released by Penguin Books in 2015.
The Gay Agenda” – his debut comedy/spoken word album – is available now.

CAA: Elizabeth Newman (CAA)
Manager: Alex Goldstone (Anonymous Content)
The Meeting* Website: http://www.themeetingshow.com
Filmography
2 Broke Girls Writer 2015 – 2017
Hard Decisions (TV) Actor: Max 2015
Jason and Shirley Actor: Marvelous Neighbor 2015
The Comeback (TV) Actor: Q 2014
In the Media:
Interview: Justin Sayre  |  October 21, 2016  |  Drama Queen NYC
The Meeting* hosted by Justin Sayre – the monthly gathering of the International Order of Sodomites, a fictional “centuries-old organization which sets the mythic Gay Agenda” – will come to an end at the conclusion of its upcoming season. After seven years of audacious humor, trailblazing political discourse and button-pushing cultural exploration, the acclaimed comedy/variety show will be presented for the eighth and final season from September 2016 through May 2017 at Joe’s Pub at The Public Theater. The Fall 2016 season shows are Sunday nights at 9:30pm and will feature tributes to gay icons Bette Midler (October 23), and Angela Lansbury (November 20), with the 8th Annual Holiday Spectacular! being held December 18. There will also be a November 5 show at Oasis in San Francisco.

I talked recently with Sayre about The Meeting*, his new comedy CD The Gay Agenda, and his popular podcast “Sparkle & Circulate”.

What was the origin of The Meeting*?

I had gone to a Radical Faerie event and I had never been to one before I was struck by the community, the discussions that people were having. I left and the whole idea for The Meeting* spurted out in one moment. [Laughs.] “Oh! What if you did a comedy / variety show, that was political and topical, that celebrated different gay icons? Invite people from the community to intepret their work, rather than doing impersonations. Do it month to month.” Really, came up with the title and the whole thing. I called some friends in New York and asked, “Do you think that will work? Would you ever come to something like that?” The response was positive, so I though, okay I’ll try it! See what happens, nothing really lost if it fails – it’s only one night [Laughs.] I thought that for the first year, really, it’s only one night a month if it doesn’t work out how bad is it? It really hit the ground running, we did the first two shows at the Duplex, and they said “this is really smart and fun, and we would love to have you back.” And there was always something new I wanted to do, or new people I wanted to have on it.

Do you think of your monologues as stand-up?

No. I still don’t consider myself a stand up in a strange way. I’m more of a storyteller. To me stand-up is more athletic, they’re more like rock-jumpers going from idea to idea to idea. As a theatre actor, it was more about “this is part of this particular section of the show, and here we need to introduce this idea to help frame the next part.” Like my “hanky code” story was framing emotional baggage. Or we need to introduce the political side of x, y and z for what’s coming up next, so we need to spin it this way.

Who influenced you as a performer?

Especially as a gay performer, as somebody coming out of the cabaret world Justin Vivian Bond was an enormous influence on me, I was obsessed with Justin and Kenny Mellman as Kiki & Herb, when they were playing I would buy tickets for every performance. Just the way they would work this really intelligent commentary into this wild world. Also people like Sandra Bernhart, certainly. And strangely, Stritch. I know that sounds so strange, but I’ve taken a huge thing from her performing style. You know just stand there and do itdeliver. Not anything else really, but just that – she’s always represented that to me, and for better or worse the honesty that comes out of that.

Tell me a little about The Gay Agenda.

We’d always recorded the shows, and about two or three years ago we thought, well, we have all this material, it’d be great to put it together and have a “Greatest Hits” of The Meeting*. Dan Fortune, my producer spearhead the idea, we picked out tracks, listened to dubs and all that stuff. It really represents what The Meeting* has been about very, very well.

In listening to The Gay Agenda, do I detect the influence of Buddy Cole [Scott Thompson’s insanely flamboyant character from Kids in the Hall]?

[Laughs.] Scott actually came to one of the shows and I said to him, “Sometimes I feel like I’m just doing Buddy Cole!” [Laughs.] I grew up with Kids in the Hall, and Buddy Cole is one of the first out people I remember seeing, and talking so frankly about it. I remember being so titillated and excited, thinking “look at him, he’s so gay!” [Laughs.] I take that as a huge compliment, really I do, because I think everything Scott and those guys did was so fantastic and ahead of their time. Thank you for even thinking of me in the same light!

How did the “Sparkle & Circulate” podcast come about?

It’s another way to get more material out there and to keep fans interested. Once our YouTube channel started to take off, we wanted to supply people with a really easy, accessible way to “tune in.” When we started there was just too much on my plate to consider something as complex as creating a whole other show. We have all these great guests at The Meeting*, because of the format of the show I don’t interact with them much. The podcast came out of my desire to actually talk to people I admired, find out where they were at with their work, what queerness or gayness has to do with their work. I found very quickly that I really liked it. And it’s really taken off, it’s a remarkable thing that I never saw coming but really delight in. And that will continue long after The Meeting* is over.

Do you have anything coming up?

Two plays coming up by the end of this year, I’m working on a pilot right now, books coming out. The work has grown exponetially through and because of The Meeting*. I got hired to write for Two Broke Girls because Michael Patrick King saw a clip and thought I was really funny. I got my book deal in a very similar way.

One last thing, as someone who has said that, in the boudoir, calling you “Madame” works just as well as calling you “Daddy,” what’s your take on masculinity?

I don’t deal with it well! [Laughs.] When somebody’s really butch I’m very “What are you doing in my house? Get outta here!” It’s almost what the premise of the show is, in a weird way. Even in the beginning The Meeting* was going to operate from the fact that being gay was never outside the norm but was the norm, even the superior norm. So there are no apologies, no teaching anybody, we’re all in on the joke. It became a celebration of what that means. I think so many people have a struggle with masculinity, because they think its about strength or some kind of bravura, but I so often find that masculinity is about insecurity. It’s about demanding space because you’re worried that somebody else is going to take it. And when you give that up and say “You know, I take up space simply because I’m this person, nobody can take it.” I can invite people into it and make sure that other voices are heard. Everything doesn’t have to be a pissing contest. I think we get a lot more donethinking like that, and are just happier. I take on masculinity because I feel like it’s something that people are forcing down on themselves, or using to force someone out of their space. I’ve seen masculinity being used as a preventative measure, and I don’t like that. I take it on because I want to free people of it, metaphorically take it off the table and poke fun at it. Within expectations of masculinity there’s that thread of misogyny. It’s always shocking to me that little gay kids grow up and want to be like the kid that tortured them in middle school. That seems silly to me. We need to celebrate who we are rather than try to be somebody else.

For tickets and more information about Justin, click here.

21 arrested as hundreds of Trump supporters and counter-protesters clash at Berkeley rally

Paige St. John

Hundreds of pro-Trump demonstrators and counter-protesters clashed Saturday at a “Patriots Day” rally in Berkeley, the third time the groups engaged in violent confrontations on city streets in recent months.

Fistfights broke out near Martin Luther King Jr. Civic Center Park, where Trump supporters had scheduled a rally. Fireworks and smoke bombs were thrown into the crowd, and a few demonstrators were doused with pepper spray.

Both groups threw rocks and sticks at each other and used a large trash bin as a battering ram as the crowd moved around the perimeter of the park. One bank boarded up its ATMs before the rally as a precaution.

About 250 police officers were deployed to the scene by mid-afternoon after officials sought assistance from the neighboring Oakland Police Department.

Twenty-one people were arrested, including some on suspicion of assault with a deadly weapon, according to Officer Byron White of the Berkeley Police Department. Eleven people were injured with at least six taken to a hospital for treatment, including one stabbing victim.

Police confiscated knives, stun guns and poles, White said.

Stewart Rhodes, founder of the citizen militia group known as the Oath Keepers, said he came from Montana with about 50 others to protect Trump supporters. They were joined by bikers and others who vowed to fight members of an anti-fascist group if they crossed police barricades.

“I don’t mind hitting” the counter-demonstrators, Rhodes said. “In fact, I would kind of enjoy it.”

But Rhodes credited Berkeley police for new tactics that mostly kept the two sides apart and “our side chilled and relaxed,” though sporadic fights broke out among both groups throughout the morning and afternoon.

“It’s getting sporty,” said Oath Keeper John Karriman, 59, who is from Missouri and was among the group’s security leaders.

AJ Alegria, 31, of Sacramento said he also came to Berkeley to help defend Trump supporters. He said he pursued a counter-demonstrator down a side street and found himself surrounded by a dozen protesters in black masks who he said attacked him with sticks and pepper spray.

“These people create violence all the time… somebody has to stand up to them,” said Alegria, who was injured in the fight. He was treated by Trump supporters who bandaged his head, washed off the pepper spray and gave him encouragement, saying, “You’ve earned your stripes, bro.”

Alegria wasn’t the only one injured.

“Stand up, America! Stand up!” shouted a Trump supporter in the middle of Center Street with a bandage on his head and streaks of blood on a sign that read “Stop Liberal Intolerance.”

Brenna Lundy, 28, said she drove from San Francisco to attend what she thought was an organizing event against the alt-right. As the violence unfolded, she stayed and attempted to talk to some of the people shouting insults at her.

“So I genuinely wanted to talk. I am trying to talk to you,” Lundy said to a woman screaming at her that “Obama hates blacks.”

Another woman from the pro-Trump side came up to Lundy and, putting a hand to her ear, said, “Ask her why she hates white people.”

Lundy looked confused. She gave up and turned away.

“This is more of a riot,” she said.

Meanwhile, giving a speech at a well-secured end of the park, alt-right blogger Lauren Southern railed against societal change, Kim Kardashian and the media. She called on members of her movement to “realize Trump is only a foot in the door.”

“We must become like them: subversive,” she said of her opponents.

The rally, one of many held across the country, was sponsored by the pro-Trump group Liberty Revival Alliance. A regularly scheduled farmer’s market, which is usually held adjacent to the park, was canceled as a precaution.

A single vendor showed up Saturday to sell organic produce. “Rain or shine or fascism, we will be here,” said a young woman operating the cash register.

Berkeley Police Sgt. Andrew Frankel told CBS 5 that police would have extra patrols on duty in case things get out of hand. “We’ve staffed accordingly and are preparing for a number of different contingencies,” he said.

About two dozen police officers showed up at the park early Saturday and set up a narrow entrance to control access. Those entering the park were prohibited from bringing the following items: metal pipes, baseball bats, poles, bricks, Mace, knives, rocks, glass bottles, eggs and Tasers.

Dave Gottfried, 58, a self-employed Berkeley artist, passed “empathy kisses,” chocolate candy, out to both sides. He had hoped to “show empathy is the beginning of understanding.”

“I feel we are going down the rabbit hole,” he said.

Last month, 10 people were arrested and seven others injured at what was supposed to be a pro-Trump rally in the famously liberal community. In February, a scheduled appearance by conservative provocateur Milo Yiannopoulos was canceled amid a violent protest at UC Berkeley.

The unrest underscores the heightened political tensions that have taken hold since President Trump took office in January.

Meanwhile, several thousand anti-Trump protesters marched through downtown Los Angeles on Saturday to demand the president release his tax returns.

The peaceful demonstration was one of dozens of “tax marches,” held in cities around the country on the traditional deadline for filing federal income tax returns.

Marchers filled blocks of closed-off streets as they walked from Pershing Square to City Hall, waving signs and chanting “Donald Trump has got to go.”

Among their placard messages: “Prove you have nothing to hide,” “Donald Ducks his Fair Share,” “No 1040, no peace” and “I pay for your golf trips. Do you?”

Recall petitions drawn up for three Haines Assembly members

Heather Lende, Tom Morphet and Tresham Gregg are targeted in the recall effort. (KHNS photos)

Heather Lende, Tom Morphet and Tresham Gregg are targeted in the recall effort. (KHNS photos)

An effort to recall half of the Haines Borough Assembly is moving forward.

Petitions to recall assembly members Tresham Gregg, Tom Morphet and Heather Lende have been drawn up on the basis of Alaska Open Meetings Act violations and misuse of an official position.

Lende and Morphet are the body’s two newest members. They’ve been on the assembly for about six months. Gregg was elected in 2015.

Resident Don Turner Jr. submitted three separate applications for recall petitions last week. In a letter to Turner released late Wednesday afternoon, borough clerk Julie Cozzi said she and the borough attorney had reviewed the applications.

At the attorney’s recommendation, Cozzi found some of the allegations in each petition application legally sufficient.

The petition to recall Gregg will contain one allegation: a violation of the Open Meetings Act. That claim is also on petitions for Morphet and Lende.

Turner alleges the three, and Assembly member Ron Jackson, communicated privately about whether to approve a piece of the harbor expansion project. In her letter Cozzi says if true, the action would constitute misconduct in office and is sufficient grounds for recall.

Petitions to recall Morphet and Lende will contain a second allegation: misuse of an official position. Turner says the two assembly members tried to coerce a subordinate and affect their personal or financial interests when they requested the police department provide the full blotter. The police chief scaled back the information included in the blotter several months ago.

Morphet is the publisher of the Chilkat Valley News. Lende writes the obituaries for the paper. Turner says Morphet and Lende would benefit from the publication of the blotter because of their affiliations with the paper and their personal blogs.

Cozzi removed several allegations from the petitions that she and the attorney found legally insufficient.

Turner and the other nine sponsors on the recall applications have 60 days to gather signatures on the petitions. Each of the three separate documents needs 258 valid signatures to trigger a special election.

KHNS will continue to follow the recall effort with reaction from those involved in weeks to come.