By Ray Pride

Paul Feig’s Powderkeg launches Break the Room, company based on a development process to empower underrepresented voices

[PR] Paul Feig’s production company, Powderkeg has launched an innovative development company called Break the Room (BTR) with writer/producer Sameer Gardezi.  BTR is a writers room development process originally piloted by Gardezi in partnership with MuslimArc, and with support from the Pop Culture Collaborative, that approaches the creation of diverse content by bringing writers of color together with community thought leaders for a week long writers room.  Each writers room will be 100% diverse putting marginalized voices in control of representing each projects’ community and ideas.  The first show to come out of this recently launched initiative was the previously announced digital short form series East of La Brea, produced in association with Lyft Entertainment and Pillars Fund.

The project follows two twenty-something working class Muslim women Aisha Hassan and Farha Munshi as they struggle to navigate the changing landscape of their native Los Angeles home. East of La Brea has been selected for World Premiere at SXSW and will compete in the Episodic Pilot Competition.

Since the company’s launch, BTR has completed two rooms in Los Angeles and Albuquerque respectively with another one to commence later this month in Portland.

The first project under the banner is The Untitled D’Lo Project, which is based on the life of Tamil-Sri Lankan trans comic D’Lo, who was supported by an all queer writers room to tell the story of coming back to his small desert hometown of Lancaster, CA.

Out of the Albuquerque room, The Great Manygoats was developed, which is a comedy about a Navajo family that struggles to cut through the red tape of government grant funding by changing their trading post business into a vegan sex shop. This project was written by an all Native American room.

The next room opening later this month will be writing a comedy centered around the refugee experience of Portland comedian and Libyan native, Mohanad Elshieky; aiming to highlight the experience of living in a “welcoming” ultra- liberal bubble yet still feeling like a fish out of water.

BTR is also looking to scale internationally with partnerships lining up in Canada, India, and the Middle East, with plans to develop stories that have a unique connection to each region.

The first BTR partners are international production company Hyde Park Entertainment, and Shivhans Pictures who have joined together to fund development of a South Asian-American comedy through a BTR writers room.

“Real change requires breaking norms and paradigms. What makes Break the Room impactful is that it’s not a diversity initiative, a shadowing program or a workshop,” says Sameer Gardezi.  “We are empowering writers by actually letting them do the work and be part of the process in a meaningful way. It’s less about backing a cause than it is investing in underrepresented voices.”

“We started Powderkeg to tell the stories of talented, emerging and underrepresented voices in comedy.  Break the Room invites these writers across the country and globe to develop, control and craft them, with our support, in a way that will resonate with viewers,” adds Paul Feig and Laura Fischer.

Launched in 2018 by Paul Feig and Laura Fischer Powderkeg is a digital studio that aims to champion new comedic voices with a special commitment to female, LGBTQ creators and filmmakers of color. Powderkeg develops scripted and unscripted series, low budget features, as well as incubator programs. Most recently, Powderkeg launched a feature film contest with Issa Rae’s Color Creative looking for the next great teen movie. Their inaugural female directors program Powderkeg: Fuse will be premiering later this spring.  The company is also in development on a variety of formats, including a half hour scripted comedy at YouTube Premium, a series at Snapchat, two movies for Freeform and a multi-script deal at the interactive platform EKO. The Powderkeg venture is being funded by Superbrands Capital, the private entertainment industry investment company run by Adam Bold.

Comments are closed.

Quote Unquotesee all »

“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier