Harvardwood HIGHLIGHTS - April 2026
- 21 hours ago
- 19 min read
In this issue:
MESSAGE FROM HARVARDWOOD
NEWS
2026 Virtual Harvardwood 101 Applications Open Through April 17th
Harvardwood Summer Internship Program (HSIP) 2026
Seeking Homestay Hosts for HSIP 2026
Harvard Alumni Association Elections
Featured Job: Production Assistant, Nightly News
FEATURES
Harvardwood Profile: Clive Chang HBS ’11 (YoungArts CEO)
Industry News
Exclusive Q&A with Michael J. Polelle HLS '63 (author)
CALENDAR & NOTES
HBO Drama Programming with VP Chris Salvaterra AB '90 (Virtual)
Making of THE DEVIL WEARS PRADA 2 with Director David Frankel AB '81 (Virtual)
Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!
You come to me on the day of my daughter's wedding (beginning of April)...
And apply for Harvardwood 101, the Harvardwood Summer Internship Program, or host one of our darling Harvardwood Summer Interns! Keep your friends close, but your interns closer....
And do not forget to vote in the Harvard Elections, and vote well, or else... nothing. But vote, ok?
And come chat HBO Drama Programming with VP Chris Salvaterra AB '90 or THE DEVIL WEARS PRADA 2 with Director David Frankel! I see a lotta this (miming mouths moving ) in our future.
As always, if you have an idea for an event or programming, please tell us about it here. If you have an announcement about your work or someone else's, please share it here (members) and it will appear in our Weekly and/or next HIGHLIGHTS issue.
Best wishes,
Grace Shi
Operations and Communications
2026 Virtual Harvardwood 101 Applications Now Open
Applications are open until Friday, April 17th
Virtual Harvardwood 101 is an intensive, informational two days from May 20th-21st featuring events via Zoom, including industry speakers, panels with interactive sessions, student Q&As, workshops, and more!
Participating companies in past years include Amazon Video, Anonymous Content, BMG Music Group, CAA, Hallwood Media, HBO/Max, Netflix, Nickelodeon, Spotify, United Masters, Upland Workshop, UTA, WB, WME, and more. Past programming has covered Writing, Producing, Agency/Management, TV, Film, Sports, Music, Acting, Entertainment Law, and more!
Open to current Harvard University undergraduate and graduate students who are Harvardwood members.
Harvardwood Summer Internship Program (HSIP) 2026
Now in its 23rd year, the Harvardwood Summer Internship Program (HSIP) provides a list of summer internship opportunities in the arts, media, and entertainment to interested Harvard students. In addition, HSIP facilitates career-related activities throughout the summer for participating students and companies virtually and/or in-person in LA, NY, and other cities with multiple students. Past program events have included film screenings, industry panels, and networking pool parties.
Internship opportunities are released and applications are accepted on a rolling basis. Positions may be filled on a first-come, first-served basis, so we encourage students and companies to submit their materials as early as possible.
For more information, visit the HSIP page. APPLY HERE.
Seeking Homestay Hosts for HSIP 2026
Every year, our Harvardwood Summer Internship Program (HSIP) offers a few dozen Harvard College students the opportunity to pursue summer internships in the arts, media, and entertainment sectors. HSIP facilitates career-related activities throughout the summer for participating students and companies both virtually and in-person in Los Angeles and other cities with multiple students.
We are currently looking for homestay hosts for part or all of Summer 2026 in LA, NYC, and other large cities to help defray the cost of living for students, many of whom could not otherwise afford to participate in low-paying arts/entertainment internships. If you're able to provide a spare room/couch/air mattress to host a college student (or three!), we'd be eternally grateful.
Please fill out this form if you're able to host. Thank you!
Harvard Elections
Harvard Elections are now underway, with paper ballots in mailboxes and online voting open through May 19th. Harvard alums are eligible to vote in the elections for both the Board of Overseers and Harvard Alumni Association (HAA) Elected Director, and we encourage you to inform yourself about these roles and the candidates who have been nominated. As an organization focused on promoting the arts, media and entertainment, we are eager to support individuals who align with that mission.
Mia Alpert AB '99, Harvardwood Co-Founder, has been nominated for HAA Elected Director. As many of you know, Mia has played a crucial role in founding Harvardwood as a 501c3 nonprofit (and HAA SIG) as well as in creating and facilitating its many programs, events, resources, fellowships and publications. Under Mia’s volunteer leadership, and with support from all of you as program participants, guest speakers, mentors, donors, volunteers and more, over the last quarter-century Harvardwood has grown into a truly global organization that includes thousands of community members around the world.
You can read Mia’s candidate statement here.
We also want to note the following nominees, who are fellow Harvardwood members:
Clive Chang MBA ’11 for Overseer (be sure to check out Clive's profile below)
Allison Charney Epstein AB ‘89 for HAA Elected Director
Jimmy Biblarz AB ’14, JD ’21, PhD ‘23 for HAA Elected Director
The deadline to vote is May 19th at 5pm ET. Happy voting!
Featured Job: Production Assistant, Nightly News
Job Description:
NBC's Nightly News is looking for a driven, detail-oriented Production Assistant to join our team. This is a great opportunity for a motivated early-career journalist to learn the core skills of broadcast news production and contribute to our flagship program.
The ideal candidate is a strong communicator who thrives under deadline and has a deep interest in a career in journalism. You'll work closely with producers, editors, and the control room team to support the broadcast from pitch to air.
Alumni Profile: Clive Chang HBS ’11 (YoungArts CEO)
by Laura Frustaci AB '21
Clive Chang is President and CEO of YoungArts, the National Foundation for the Advancement Artists, whose mission is to identify exceptional young artists, amplify their potential, and invest in their lifelong creative freedom. Clive brings to this role a combination of commercial and nonprofit arts leadership experience, as well as the perspective of a lifelong artist himself as a classically trained composer and pianist.
Prior to YoungArts, Clive was Executive Vice President, Chief Advancement & Innovation Officer for Lincoln Center for the Performing Arts in New York City. In this capacity, he oversaw fundraising, strategic partnerships, and innovation programs for the world’s pre-eminent performing arts complex—home to 11 world class arts organizations across its 16-acre campus. Prior to Lincoln Center, Clive served as Director, Strategy & Business Development for Disney Theatrical Group, where he led strategic planning and growth initiatives for Disney’s commercial live entertainment businesses worldwide.
Clive holds dual Bachelor of Music and Bachelor of Commerce degrees from McGill University, an MFA in Musical Theater Writing from NYU/Tisch School of the Arts, and an MBA from the Harvard Business School. He was an adjunct professor in the graduate program in Arts Administration at Columbia University in New York City from 2018-2021 and serves on the boards of the U.S. Presidential Scholars Foundation, Music Academy of the West, and the advisory board of the NYU Center for Black Visual Culture. Clive and his husband divide their time between Miami, FL and Weston, CT.
Clive Chang HBS ’11 began his artistic journey very early. Born in Hong Kong, he and his twin sister moved to Canada when they were just five years old. That was around the same time his parents finally gave in to years of pleading and signed the pair up for piano lessons. “I still distinctly remember we didn't yet speak English,” Clive laughs, “and our Russian piano teacher also didn't speak English, and over time, we all learned English together.” This set Clive on a path that would lead to a decade of performing on the piano circuit, including competitions and festivals.
That path came to a head in his senior year of high school, when he told his parents he wanted to pursue a career in music. As Clive recalls, their response was essentially, “‘Wait a minute, no, that's not why we put you in lessons… You're supposed to be a lawyer, or an engineer, or a doctor. What do you mean you want to go study music?’” But Clive says the ‘rebellious’ teenager in him wasn’t deterred. “I ended up dual enrolling in a music degree and a finance degree. I used to tell my friends, it was one degree for me, and one for my parents.” Clive smiles. “I actually grew to love both disciplines, to be honest, and I also really grew to admire that there's much more to business than debits and credits. There is a real art to it.”
The business of art became Clive’s calling. After graduating with the dual degrees as Valedictorian, he went on to earn an MFA in Musical Theater Writing from NYU and an MBA from Harvard Business School. Since then, Clive has been uniting those two passions in his career. He worked as Head of Strategy for Disney’s theatrical division, overseeing the global strategy for many beloved animation-turned-Broadway-shows: THE LION KING and ALADDIN, to name a few. He then moved over to the nonprofit side of the arts world and took over at Lincoln Center as the Head of Advancement and Innovation. Now, Clive is thrilled to be the President and CEO of YoungArts, which is, in Clive’s words, “a real gift to lead an organization that really lives and breathes for artists. It feels like coming back home.”
2026 marks the 44th year of YoungArts, a nonprofit dedicated to helping artists along their path to a sustainable artistic career. “The heart and soul of the organization began and remains today as a nationwide call to any young artist aged 15 to 18 to apply to our national competition.” Clive says proudly. “This past year, we received almost 13,000 applications… If you think about the early winners, like Vanessa Williams and Viola Davis… our heritage is incredible, but you also have to remember, for every Viola, there are hundreds of other artists in that same class whose careers didn't quite take flight in the same way. And so, our work really exists to help as many artists as possible navigate their career over a lifespan.”
What has been an interesting challenge for Clive since he stepped into this role is how to deal with the influx of incredibly passionate multi-hyphenate artists who apply to YoungArts. “Among the newest generations, any artist who reaches an advanced level has multiple artistic identities, and it's our job as an ecosystem to make sure we recognize that and adapt the structures of arts education and training accordingly.” Clive insists. “And we are behind as an ecosystem.” Part of getting that ecosystem back on track is restructuring the strict—and rather outdated—way that society thinks about the delineation of artistic disciplines. Students tend to feel pressured to pick whichever discipline they are most likely to succeed in when applying to post-secondary programs or competitions. “To all of the Juilliards of the world, all of the art schools, how can we better welcome all of the dimensions of an artist's identity without boxing them into the structures that have been built out of tradition over many decades?” Clive asks.
Another part of keeping our artist ecosystem moving in a positive direction is supplying accessible resources for artists. Clive and the YoungArts team are particularly proud of their
Artist Resource Collective (ARC) initiative, which aspires to become a “widely-adopted model for helping artists build sustainable careers.” YoungArts heard from artists, institutions, and educational organizations that artists are not equipped to be financially empowered. “The most important element of career preparedness is building financial empowerment from an early age.” Clive states. “We're calling it empowerment and not literacy. Because it's not about understanding accounting. It's about understanding your own aspirations, your own values as both a human and an artist, and your relationship with money and capitalism, and how you build a sustainable model around all of those values. And this is why we call it Artist Resource Collective.”
Clive’s passion for supporting artists comes in part from being a dedicated and talented artist himself. He credits his musical training for both his analytical capacity and creative thinking. “I bring my artistry into everything I do, including being a CEO. And I think artistic skills continue to go underappreciated.” Clive says. “Artists are often relegated to entertainment… And it's ironic, because there are a lot of people who really value art, but forget to value artists. Let's never forget the humanity and ingenuity that goes behind the creation of some of the most beautiful things that we enjoy as a society. Everything that we touch, everything that we hear, everything that surrounds our lived environment was created by an artist. And I think that is a message that we can't really preach loud enough. Every corporate board would be so lucky to have an artist in its midst, right? Now, it's just convincing the decision makers to understand the value they bring.”
Being an artist has also given him other skills for success that transfer into his daily work. Clive says, “My ability to influence colleagues productively in a room, my ability to navigate a complex decision-making process, that comes from my background as a collaborative artist… As an arranger, composer, music director spending a lot of time directly with artists making art; those kinds of skills, as you ascend in seniority in the workplace, become far more important. Because it's about EQ and not just IQ. Even when I make hiring decisions now, the hardest thing to find is a really well-developed EQ. This is where artistic training is so valuable.”
When asked about his view on the often tortured relationship artists have with money, Clive urges a practical approach. “Collectors, gallerists, patrons, audiences--they all play a critical role in sustaining a healthy arts ecosystem.” he says. “Let's view their wallets as a vote of support for art and for artists. There is this unnecessary self-imposed paradigm of the artist’s struggle… How do we actually move away from the trope of the starving artist? How do we help young artists from a very, very early age to develop a healthy relationship with money and help them enter the world more prepared to make deliberate decisions about building their life and career?”
Beyond YoungArts, Clive is currently on the ballot for Harvard's Board of Overseers, and he hopes to apply his background in both business and art to the role if he’s elected. He connects his work leading an arts organization to “the tension that Harvard faces between its academic mission and fiscal health” and highlights his experience in nonprofit governance and fundraising.
“My expertise would align very naturally with an important standing committee of the board: the Committee on Arts & Humanities.” he notes. “Because Harvard doesn't have a dedicated school of the arts in the traditional sense, this committee plays an important role in promoting access to and participation in the arts at Harvard, and I'd be uniquely suited to advise on how best to integrate the arts across the various Harvard schools. I believe that artists have some unique 'superpowers'. One of these is a heightened ability to feel and sense their own energy in relation to a larger tapestry—visual, aural, physical, kinetic—and that ability is particularly powerful in rooms with layers of divergent views and perspectives.”
Clive adds, “My favorite quote comes from an artist leading a jazz workshop: "Don't just play; contribute to the sound that is already in the room". As both an artist and a champion of artists, I hope to leverage this ability in contributing to the sound in the boardroom.”
Industry News
Jesse Andrews AB ’04 was featured on THE SCREENWRITING LIFE, where he discussed his journey from writing novels like ME AND EARL AND THE DYING GIRL to crafting Pixar films, including his latest project HOPPERS. In the conversation, Andrews reflects on the collaborative nature of animation, the creative process behind high-concept storytelling, and the importance of leaving ego aside when working in large-scale studio environments. (Talkhouse)
Matthew Aucoin AB ’12 was recently featured in a Boston University College of Fine Arts profile highlighting his work as a visiting professor mentoring the next generation of musicians. A MacArthur Fellow and Grammy-nominated artist whose work has been performed at institutions like the Metropolitan Opera, Aucoin is balancing a global composing career with teaching graduate students in composition, voice, and conducting. (Boston University News)
Alec Berg AB ’91 is an executive producer on C-LEAGUE, a new half-hour comedy series in development at Hulu from creator Charlie Hall. The series follows a group of friends in their late 20s navigating friendship, masculinity, and adulthood while competing in a recreational basketball league. (Art Threat)
Marty Bowen AB ’89 is attached as an executive producer on OFF CAMPUS, a new Prime Video adaptation of Elle Kennedy’s bestselling college hockey romance series, set to premiere May 13, 2026. The series follows an elite university hockey team and the relationships that shape their lives, blending romance, friendship, and coming-of-age drama, and has already been renewed for a second season ahead of its debut. (Deadline)
Carlton Cuse AB ’81 is an executive producer on TOM CLANCY’S JACK RYAN: GHOST WAR, the upcoming Prime Video feature film continuing the hit action franchise starring John Krasinski. The film, set to premiere May 20, 2026, follows Ryan as he is pulled back into a high-stakes global conspiracy in what is described as his most personal and dangerous mission yet. (Deadline)
Michael Friedman JD ’15 is an executive producer within the expanding YELLOWSTONE television universe, which continues with the upcoming Paramount+ spinoff DUTTON RANCH, set to premiere May 15, 2026. The series follows fan-favorite characters Beth Dutton and Rip Wheeler as they attempt to build a new life in Texas after the events of the original series, continuing the franchise’s signature mix of family drama and high-stakes conflict. (TVLine)
Director Daniel Goldhaber AB ’13, co-writer Isa Mazzei and star Barbie Ferreira discuss the "moral peril" of smartening up a notorious horror movie for a new generation. (LA Times)
Lev Grossman AB ’91 was interviewed in a Publishers Weekly article discussing his latest children’s book, THE GOD OF SLEEP, his first picture book. Inspired by a dream and written in rhyming verse, the project marks a new creative direction for the bestselling MAGICIANS author, as he reflects on the challenges of writing for younger audiences and the appeal of mythological storytelling. (Publishers Weekly)
Debra Martin Chase JD ’81 is an executive producer on LIGHTS OUT, a new television adaptation of Elise Hart Kipness’s bestselling sports thriller novel currently in development at Universal Television. The series follows a former Olympic athlete turned sports reporter whose life unravels as she investigates a high-profile murder tied to a professional basketball star. (Deadline)
Mira Nair AB ’79 was honored at the Phulkari Annual Gala Night in Amritsar, where she received a Women of Substance award recognizing her influential contributions to global cinema. The event celebrated distinguished women across fields, highlighting Nair’s acclaimed body of work—from SALAAM BOMBAY! to MONSOON WEDDING—and her impact as a pioneering storyteller on the international stage. (The Tribune)
Natalie Portman AB ’03 has been named the latest global house ambassador for Tiffany & Co., fronting a new campaign that highlights the brand’s iconic collections and storytelling legacy. As part of the partnership, Portman stars in a cinematic campaign film exploring themes of love, resilience, and identity, marking a new chapter for the house’s global creative direction. (Vogue)
Sean Presant AB ’93 recently won both a Children’s and Family Emmy Award for Outstanding Writing for a Preschool or Children’s Series and a Writers Guild of America Award for Children’s Episodic, Long Form, and Specials for his work on TAB TIME. The winning episode, “When We Lose Someone,” explores grief and loss through a child-appropriate and emotionally sensitive lens, following Ms. Tab (Tabitha Brown) as she helps characters process the death of a loved one. (Animation Magazine)
Jeff Schaffer AB ’91 is an executive producer, writer, and director on HBO’s upcoming sketch comedy series LIFE, LARRY, AND THE PURSUIT OF UNHAPPINESS, created alongside longtime collaborator Larry David. The seven-episode limited series, produced with Higher Ground, will premiere June 26, 2026, and satirizes key moments in American history with a rotating cast of guest stars and CURB YOUR ENTHUSIASM alumni. (HYPEBEAST)
Bess Wohl AB ’02’s acclaimed play LIBERATION will continue its momentum following a successful Broadway run with a multi-city rollout, including a West Coast premiere at the Geffen Playhouse in Los Angeles. The production, which explores second-wave feminism through a group of women in 1970s Ohio, is set to run in Los Angeles from January 27 to February 28, 2027, as part of a broader co-production across major venues. (Deadline)
Kelly Yang JD ’05 's first dult novel, THE TAKE, will be released on April 14th. From the #1 New York Times bestselling author, the novel is a provocative, fast-paced novel about two creative women—a young writer fighting to be heard and an older producer clinging to relevancy—and the age reversal treatment that intertwines both of their lives. (Penguin Random House)
Exclusive Q&A with Michael J. Polelle HLS ’63 (author)
A native Chicagoan, M.J. Polelle is an emeritus professor of the University of Illinois Chicago School of Law. A graduate of Harvard Law School, he practiced civil litigation in Chicago before joining the faculty of De Paul University College of Law and then the UIC-School of Law. He taught a comparative law course in Parma, Italy and served as a Special Assistant State’s Attorney for several years. His first novel, THE MITHRAS CONSPIRACY (Lido Press: 2019), a history-based mystery, was a 2020 finalist in both the Eric Hoffer Book Awards and Royal Palm Literary Awards of the Florida Writers Association. It also earned an IndieBRAG Medallion for placing in the top tier of reviewed novels. He did original research in Rome, Italy concerning the Mithras cult. His second novel, AMERICAN CONSPIRACY (Lido Press: 2021), a political thriller, drew on his years as a lawyer, a professor of constitutional law, and the fateful presidential election of 2016. M.J. Polelle lives now with his wife, Donna, in Sarasota, Florida.
Q: You had quite the career, from attending HLS to practicing civil litigation to teaching law to being a Special Assistant State’s Attorney. What inspired you to begin writing fiction?
In a nutshell, Scott Turow’s ONE L. Though nonfiction, this book had the keen observations a novelist would make. I experienced pretty much what Turow experienced but I didn’t write about it. He also proved lawyers could be worthy novelists. I started writing a beginner’s novel, BROKEN LOVE BEADS. In my capacity as Director of the Media Law Program at John Marshall Law School (now UIC-School of Law), I invited him to do a presentation about his experience as a lawyer and also becoming a bestseller novelist. He accepted and meeting him motivated me to keep writing though my beginner’s novel remains unpublished and lies interred under a stack of papers and boxes.
Q: How did your time at law school and in the professional world prepare you for what you now do as a novelist?
They left my earlier right-brained youth of creativity and intuition undeveloped so that I craved writing to regain those attributes. But once I started being more creative and intuitive in my writing, I was grateful that law school and the professional world prepared me for the important role played by the left-brained attributes of attention to detail, logic, analytical reasoning, and a work ethic. Those attributes are especially helpful when it comes to the editing phase. These seemingly prosaic qualities keep novelists moving ahead after the honeymoon wears off. It takes a whole brain working together with complementary attributes to make a novelist over the long haul.
Q: You’ve published two books and are currently working on the third. Did you know this would be a trilogy when you wrote the first book? How far ahead did you plan character and plot arcs?
I had no idea I was aiming for a trilogy when I started out. I just wanted to write one acceptable novel. In writing my beginner’s unpublished novel, BROKEN LOVE BEADS, I tried to outline the whole novel in advance with logic and precision. The result? Undeveloped characters and a cookie-cutter story crammed into a rigid outline. Now, I view the process like riding a subway with no particular endpoint in mind, except for the next stop. Once I get there I pause and select the next station I might want to transfer to. I let the characters and plot arcs develop one step at a time.
Q: What was the publishing process like? Did you go through querying agents and publishers? How long did it take from final manuscript to finished copy?
The publishing process was a rejection-survival boot camp. It toughens the novelistic spirit if you survive it. Yes, I went through the querying process. I think I contacted about 100 agents for my first published novel, THE MITHRAS CONSPIRACY . The responses, over about a year, ranged from many non-responses, quite a few written declinations, often with some positive comments, and a few where the agent wanted the full manuscript but then declined, usually without a reason, So, I went the independent route and had it edited by Girl Friday Publications and published by Lido Press For my second novel, AMERICAN CONSPIRACY, I decided again to have Lido Press publish it and Girl Friday Publications do the editing, after only seven declinations by agents. Taking it from final manuscript to finished copy was easy. After I did the best I could on both novels, Girl Friday Publications took it over and did the professional editing, the proofreading, and the copyediting. Girl Friday Publications finished up in about a month with each novel.
Q: What is your writing process like? How do you outline, when do you like to write, and do you have any rituals you subscribe to?
I don’t outline a novel anymore before I write it. It takes away the fun and creative surprise. I prefer writing in the mornings when I’m the freshest and my mind is yet uncluttered with daily trivia. After I finish a scene or larger segment I prefer going to my coffee shop for a cappuccino while I daydream the next steps and doodle them with pen and paper. My ritual, less obsessive lately, is that I start every new scene or segment with a clean copy of stationery from the University of Luxembourg where I once participated in a seminar. It’s my version of a rabbit’s foot.
Q: What has been the most fun or surprising thing about writing novels? What has been the most difficult?
The most surprising and fun thing is the joy when the creative flow unpredictively arrives and the writing comes as close as it can to what you want to express. The most difficult thing is dealing with the business side of writing.
Q: Do you have a favorite character or plot point that you knew very early on would be important to include? Where there any darlings you had to kill in your writing process?
In THE MITHRAS CONSPIRACY and AMERICAN CONSPIRACY there were no foreseen plot points I was working toward more than one scene ahead. But for this third novel in the trilogy I’m working on I have a dramatic climax that I’m aiming for. I never expected that to happen. I’m always killing darlings and almost always it’s because they are personal experiences I cherish but which have little or nothing to do with the flow of the novel. That’s one reason BROKEN LOVE BEADS never worked out. Too many recent personal experiences that didn’t have time to marinate with the creative process.
Q: Have you ever had to deal with writer’s block? Were there any places in your writing that you got stumped?
This may be heresy, but I don’t believe in writer’s block once the first sentence is written. Thereafter, what seems like writer’s block is a temporarily stumped subconscious that needs time to work out the issue even when you don’t think you’re working because you’re not sitting in your chair typing away. A writer’s subconscious never stops working and is never blocked permanently. True, the subconscious may sometimes tell you to ditch a work in progress. But that’s not writer’s block. That’s a writer’s enlightenment making him or her free to undertake a new project. I found a good tip given by Ernest Hemingway: always stop for the day in the middle of a scene. That way it’s easier to resume the next day.
Q: What advice do you have for those who have an idea for a novel but are too intimidated to start out?
Pretend you’re writing a diary no one will ever see. It’s socially permissible, despite the social media era, to have an unpublished thought! Once the novel is finished you have done more than “start out.” All that’s left is whether to leave it in a closet or publish it. Often that’s a question of your tolerance for rejection. Write for yourself and write the kind of novels you like to read. That’s the most important thing.
HBO Drama Programming with VP Chris Salvaterra AB '90 (Virtual)
Tuesday 04/28
Join Harvardwood for a unique opportunity to speak one-on-one with HBO Executive Chris Salvaterra AB ’90. Learn about his journey in film and television, his role in shaping some of HBO’s most acclaimed series, and gain insight into the creative process behind premium storytelling.
Making of THE DEVIL WEARS PRADA 2 with Director David Frankel AB '81 (Virtual)
Thursday 05/07
Join us for an exclusive conversation with the David Frankel AB ’81, director of THE DEVIL WEARS PRADA and THE DEVIL WEARS PRADA 2, six days after the sequel's release on May 1st.
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