Harvardwood HIGHLIGHTS - March 2026
- 7 hours ago
- 20 min read
In this issue:
MESSAGE FROM HARVARDWOOD
NEWS
2025-2026 Mario Cader-Frech Harvardwood Religion & Media Micro-Grant Fellowship Winners
Harvardwood Summer Internship Program (HSIP) 2026
Seeking Homestay Hosts for HSIP 2026
Virtual Harvardwood 101 - Applications now open!
APPLY NOW to the Jeff Sagansky Harvardwood TV Writers Program - closes March 13!
Featured Job: Finance Executive Assistant
FEATURES
Harvardwood Profile: Victoria Sung AB’10 MBA’15 (curator)
Industry News
Exclusive Q&A with Brittney Russell HMS Media & Medicine '20 (director)
CALENDAR & NOTES
March Harvardwood Creative Salon (Virtual)
Oscars Watch Party LA (Los Angeles, CA)
Oscars Watch Party NYC (New York, NY)
Global Networking Night
Last Month at Harvardwood
Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!
March! March...March? M-m-m-announcing the 2025-2026 Mario Cader-Frech Harvardwood Religion & Media Micro-Grant Fellowship Winners! Congratulations to Priya Amin, Hank Yang, and Augustus Kellerman!
The Harvardwood Summer Internship Program (HSIP) 2026 and Virtual Harvardwood 101 applications begin now! They're rolling, so be sure to neurotically tweak over it. Also, we are once again Seeking Homestay Hosts for HSIP 2026. Pwetty pwease? Ew, sorry. Host our interns or I'll write the rest of this in that voice...
Please join us for another monthly edition of the Harvardwood Creative Salon! Word on the street is that this is where all the cool kids are hanging out. What, you haven't heard this? Maybe you should show up then.
And of course, we are pleased to present another year of Harvardwood Oscar Watch Party, in LA and in NYC! Unless you are physically at the Oscars, I better see you there. Either way, I'll be watching you...
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
2025-2026 Mario Cader-Frech Harvardwood Religion & Media Micro-Grant Fellowship Winners
Harvardwood is excited to announce the winners of the 2025-2026 Mario Cader-Frech Harvardwood Religion & Media Micro-Grant Fellowship, who are now in the process of preparing their films for the upcoming Harvard Divinity School Film Fest, taking place on campus March 26-27!
Priya Amin AB '19, HMS '25 is a fourth-year medical student at Harvard Medical School and a filmmaker whose work explores the intersection of medicine, history, and storytelling. She studied Visual & Environmental Studies and the History of Science at Harvard College and holds a master’s degree in Narrative Medicine from Columbia University. She previously worked with the ABC News Medical Unit, where she contributed to medical journalism and health reporting. Her current documentary, 95% IMMUNE, examines the social and historical legacy of Hansen’s disease through patient narratives, archival research, and visual storytelling. Priya’s work spans clinical research in radiation oncology and creative media, and she is interested in how storytelling can illuminate stigma, structural exclusion, and the human experience of illness. She hopes to build a career as a physician-storyteller, creating films that widen how audiences understand illness, dignity, and care.
In 95% IMMUNE, a curable disease reveals an unhealed history. Moving between the United States and India, the documentary traces the long shadow of leprosy, also known as Hansen’s disease. From the enforced isolation of patients at the former U.S. Leprosarium in Carville, Louisiana, to communities where those affected still live on society’s margins, its history continues to shape the present. Though the infection itself is completely curable, its stigma survives in the form of separation from families, work, and touch. Through intimate testimony and echoes of archival memory, 95% IMMUNE explores how people build lives, love, and dignity in places marked as apart. In the end, the film asks a quiet but unsettling question: if the disease is curable, where does the real illness remain?
Hank Yang MTS '26 is a student at Harvard Divinity School studying Comparative Studies. His focus is on monasticism and mysticism, and through his art, he wishes to deeply explore the spiritual side of the problems we face every day. He is passionate about Asian American filmmaking.
BABY ABYSS is Hank's first animated film, although he always loved to draw and make comics as a kid. This film is one of symbols and metaphors, about how the consequences of trying to gain control over something that isn’t possible to gain control over: one’s own spirit. It discusses the exploration of the abyss within oneself, what it means to cut a part of yourself off, all in an attempt at becoming spiritually whole again.
Augustus Kellerman MDV '26 is an actor and filmmaker currently pursuing a Masters of Divinity from Harvard Divinity School. He has worked on short films such as BECOMING and THE SUMMONING OF EVERYMAN and has recently starred in MODUS OPERANDI and THE MAN THAT HAD MASTERED TIME.
His film, THE SUMMONING OF EVERYMAN, is a short inspired by the medieval morality play of the same name. Incorporating elements from Catholic theology and medieval art, THE SUMMONING OF EVERYMAN explores themes of duty, service to others, and the imminence of death. It ultimately conveys the hopeful message that, though life is short, love and relationships make everything worth it.
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.
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!
Virtual Harvardwood 101 - Applications now open!
This program is for any current Harvard undergrads and graduate students.
Virtual Harvardwood 101 is an intensive, informational two-day program featuring events via Zoom, including industry speakers, panels with interactive sessions, student Q&As, workshops, and more! Participants in past years include ABC / Disney / Hulu, Amazon Studios, BMG Music Group, CAA, HBO Max, Netflix, Spotify, United Masters, Upland Workshop, UTA, WME, and more!
Students who have completed the virtual or in-person Harvardwood 101 programs in the past are eligible to participate again.
Funding to cover the prerequisite one-year Harvardwood membership may be available on a first-come, first-served basis, so make sure to apply early!
For more information, visit the Harvardwood 101 page.
APPLY NOW to the Jeff Sagansky Harvardwood TV Writers Program - closes March 13!
The deadline to submit for the Spring 2026 Jeff Sagansky Harvardwood TV Writers Program is next Friday, March 13th at 11:59 pm PT!
The Jeff Sagansky Harvardwood TV Writers Program uses peer review, guest speakers, and weekly workshops to foster a motivating and supportive environment for each participant’s writing. Participants will be placed in a genre-specific module (half-hour, hour-long, rewrite, etc.) where writers read and provide personalized feedback for each other, supervised by experienced Module Leaders. Throughout the semester, guest speakers, panels, and social events supplement the workshop experience and help build a collaborative and meaningful community out here in Hollyweird and beyond. In other words, “Come for the deadlines, stay for the friends.”
The 10-week program culminates in a “pitch panel” event where participants have the opportunity to pitch their HWP project to industry veterans, receive feedback on their concept, and practice the art of pitching.
Featured Job: Finance Executive Assistant
Job Description:
Netflix is seeking an Executive Assistant (EA) to provide dedicated support to our VP of Finance. The position requires exceptional skills, including the ability to work closely with C-suite executives, execute cross-functional coordination, thoughtfully communicate across diverse audiences, and exercise strong judgment in a complex, fast-evolving, and highly confidential environment.
Alumni Profile: Victoria Sung AB’10 MBA’15 (curator)
by Laura Frustaci AB '21
Victoria Sung is the Phyllis C. Wattis Senior Curator at the Berkeley Art Museum and Pacific Film Archive (BAMPFA), where she oversees the museum’s long-standing MATRIX series of contemporary art and works with artists to create exhibitions, publications, and public programs. Recent projects include solo exhibitions with Amol K Patil, Lee ShinJa, Sin Wai Kin, Duane Linklater, Kenneth Tam, and Yee I-Lann. From 2015 to 2023, Sung was a curator at the Walker Art Center, Minneapolis, where she organized the touring retrospective Pacita Abad (traveled to SFMOMA, MoMA PS1, and the Art Gallery of Ontario), as well as exhibitions with Siah Armajani, Theaster Gates, Pao Houa Her, Candice Lin, Rayyane Tabet, and Laure Prouvost, among others. Her latest exhibition Theresa Hak Kyung Cha: Multiple Offerings, the first retrospective on Cha in 25 years, is on view at BAMPFA until April 19, 2026.
Victoria Sung AB’10 MBA’15 is the Phyllis C. Wattis Senior Curator at the Berkeley Art Museum and Pacific Film Archive (BAMPFA). She began the role in 2023, following eight years at the Walker Art Center in Minneapolis.
Sung’s path was far from linear. “When I was making career decisions, I always felt like I was zigzagging my way around,” she said with a laugh. “There have been many moments of uncertainty.” What has remained consistent, she said, is a deep belief in what art can make possible: for artists, for audiences, and for histories that might otherwise remain unheard.
At Harvard, where Sung studied History, it was a junior-year seminar with Laurel Thatcher Ulrich and Ivan Gaskell that changed her understanding of the field. The class focused on material culture history: “writing history from objects.” You begin with an object, she explained, and ask what it can reveal that might not be visible through written archives alone.
For Sung, this method carried ethical weight. Written records have historically been “the domain of certain people,” narrowing who appears in the archive. Object-centered history became, in her words, “a way to tell different stories grounded in my interest in women’s histories and those of marginalized communities.”
The seminar also introduced her to what a curatorial practice could look like. Gaskell, then a curator at the Harvard Art Museums, brought students into the galleries to consider not just the objects on view but the decisions surrounding them: why something is chosen, how it is installed, and what narrative that display contributes to. “That was really my introduction to what a curator does,” Sung said.
From there, she moved into art history, studying with professors including Jennifer Roberts before pursuing a master’s degree at Oxford. After Oxford, her next move surprised even her: Harvard Business School.
She describes it as a “crazy turn,” but a practical one. Encouraged in part by conversations with Gaskell, she realized that curatorial work is not only about working with art objects. It also requires knowledge of fundraising, budgeting, managing people and institutional resources, and bringing artistic visions to life. Business school emphasized a familiarity with these different skillsets. The transition from Oxford to HBS was “a culture shock,” she admits, but one that continues to serve her when facing “thorny problems” inside large institutions.
Before completing her MBA in 2015, Sung had already worked at the Whitney Museum of American Art and MoMA as a curatorial intern and research assistant. Still, choosing her next step after HBS felt risky. While many classmates pursued corporate careers, she knew what she truly wanted to do was curate.
She joined the Walker Art Center’s curatorial team in Minneapolis, expecting to stay “maybe a year, two years.” She stayed nearly eight. “It was one of the best decisions I have made career-wise,” she said.
It was at the Walker that she came to understand how deeply relational the job is. “I came to realize how much of a curator’s job is about people,” she said. Beyond shaping narratives, the work involves constant communication: with artists, across departments, with partners, and with audiences. “So much of what I do is really about building relationships.” The goal is to ensure artists “feel supported in a space where they can then imagine and do their most ambitious work.”
Working with historical objects, she noted, can be “very quiet.” Archives do not talk back. With living artists, you have “this incredible interlocutor”—someone whose intentions and vision you can discuss directly. Her role becomes both supportive and interpretive: helping “bring their vision to life in the best possible way,” while creating what she calls a “two-way exchange” between artist and audience.
Curating also means persuasion within an institution. “Curators are storytellers,” Sung said, “and you have to also do that internally.” Budgets and logistics often challenge ambitious ideas. The work becomes helping colleagues understand why a project matters and “bringing people on board” so it can happen.
Compromise is inevitable. The question, she says, is how to compromise without losing sight of the larger vision: “How can we adapt an idea in a way that still stays true to the artist’s vision?” Sometimes working within restrictions “can generate more creativity.” Other times it requires persistence—“fighting for artistic integrity” day in and day out.
When asked what guides her at the start of a project, Sung does not cite a checklist. Instead, she returns to an ethic: “Following the way the artist works as much as possible,” and “telling their story in the most compelling way that I can.”
She illustrated this through her retrospective of Filipina American artist Pacita Abad (1946-2004) at the Walker Art Center. Abad created nearly 5,000 works but had never received a full retrospective, in part because her textile-based “quilted paintings” were long dismissed as craft rather than fine art. Sung sought “to make the case” for Abad’s importance while honoring the openness of her practice.
Rather than relying solely on the estate’s narrative, Sung initiated an oral history project that included collaborators, friends, and family whose voices “may not necessarily be included in museum spaces.” She describes it as capturing the “polyphony of voices” around Abad’s life and work; expanding how an exhibition can connect art to lived experience.
At BAMPFA, Sung brought a similar lens to her retrospective on Theresa Hak Kyung Cha. Though widely known for her 1982 book Dictée, Cha’s broader artistic practice had not been comprehensively shown at a museum since 2001. For Sung, it was time. She wanted to reveal the full breadth of Cha’s art and archives and demonstrate why her work remains urgent.
Cha explored diaspora, linguistic dislocation, repetition, and memory in the 1970s and 1980s, “decades before audiences were ready,” Sung said. “She was a real visionary.”
When asked what feels urgent in art today, Sung resists narrowing it to a single trend. Artists are moving in “so many different directions.” Still, she returns to a guiding belief: “Art is a realm of possibility.” In a world that feels chaotic, art can be a respite or a call to action. It can be an imagining of futures not yet aligned with present reality. Museums, for her, are where that possibility becomes public.
That conviction predates Harvard. As a teenager, she spent hours in museums, learning history through close looking. “I could easily spend 7 or 8 hours in a museum if you let me.” Today, she sees museums as increasingly necessary in a distracted world—spaces where one can stand before an object and simply look.
For students considering a curatorial career, especially those anxious about unconventional paths, Sung’s advice is direct: “You just have to do. You have to make.” Curatorial work is about generating ideas, doing the research, and relating to people. Much of what she learned as a curator came through hands-on experience rather than formal programs.
She encourages students not to focus solely on larger institutions like MoMA and the Guggenheim. Smaller spaces allow emerging curators to take responsibility earlier, wear many hats, and learn through constraint. She recalled advice from Adam Weinberg, the former Director of the Whitney, to “essentially ‘get out of New York.’” Her decision to move to Minneapolis, before she had ever visited the city, felt risky at the time but became foundational.
Looking ahead, Sung describes her work as having a long horizon and remaining deeply relational. She stays in conversation with artists for years before projects materialize, letting ideas “percolate.” She feels no urgency to rush upward. “I’m doing the work that I love,” she says, “and it’s work that takes time and care and sometimes years of research.”
In the end, the through-line is not linearity but belief: in art’s transformative possibilities, in the importance of telling overlooked histories, and in the museum as a space where stories, once quiet, can finally be heard.
Industry News
Global Music Award-winning pianist and Harvardwood Board Member Gerry Bryant AB ’76 has just released his nineteenth (already critically acclaimed) album, “A World of Happiness”, classical music and jazz he describes as quietly joyful. For more information about Gerry and his music catalog, visit www.gerrybryant.com.
Néstor Carbonell AB ’90 is part of the ensemble for READY OR NOT 2: HERE I COME, the sequel to the 2019 horror-comedy hit, which comes out in theatres Friday, March 20, 2026. (IndieWire)
Robert Carlock AB ’95 recently returned to campus for a celebrated installment of Harvard’s LEARNING FROM PERFORMERS series, marking its 50th anniversary with a lively conversation alongside longtime collaborator Tina Fey. (Harvard Magazine)
Stockard Channing's AB ’65 version of the 1958 Samuel Beckett play KRAPP’S LAST TAPE is one of the first shows confirmed at this year’s Edinburgh Festival Fringe. (The Herald Scotland)
Michelle Chen AB ’99 produced COUNT ON JUNE BUG, which was nominated for the 4th Annual Children's & Family Emmy® Awards. (Emmys)
Albert Cheng MBA ’97 is leading Amazon MGM Studios’ push to integrate artificial intelligence into film and television production, as the company looks to accelerate development timelines and reduce costs amid industry-wide debate over AI’s impact on jobs. (Reuters)
SNL alum Rhys Thomas is set to direct the comedy thriller SLEEP TRAIN, with Lorenzo di Bonaventura AB ’79 producing and Bluestone Entertainment financing. (Variety)
Jonathan Goldstein’s JD ’95 next big-screen outing has set its fall 2026 launch with Apple TV+. MAYDAY is a Cold War–set action buddy-comedy he co-writes and co-directs with John Francis Daley. MAYDAY is slated to premiere globally on September 4, 2026, as part of Apple TV’s expanding originals slate. (The Playlist)
Reginald Hudlin AB ’83 recently reflected on the enduring impact of HOUSE PARTY with collaborators Kid n' Play, recounting how the original film’s authentic depiction of Black youth culture struck a chord with audiences while still feeling like “lightning in a bottle.” (People)
John Lesher’s AB ’88 latest feature THE DINK for Red Hour Films has officially set its global premiere date, with Apple Original Films announcing the comedy will debut July 24. Starring Jake Johnson and Mary Steenburgen, the film adds to Apple’s expanding summer slate. (Deadline)
David Madden AB ’76 executive produced the YA romantic comedy KISSING IS THE EASY PART, now streaming on Tubi. The Wattpad-based film, directed by Fawzia Mirza and starring Asher Angel and Paris Berelc, follows a high-achieving student who strikes a tutoring deal with a charismatic classmate, only to discover that navigating feelings may be more complicated than acing exams. (Entertainment Focus)
Tom Morello AB ’86 has announced a new U.S. tour in support of his latest solo work, bringing his signature blend of incendiary riffs and political firepower to stages across the country this spring and summer. (Yahoo)
Mike Schur’s AB ’94 hit Netflix series A MAN ON THE INSIDE, which reunited audiences with Ted Danson as the retired professor-turned private investigator Charles Nieuwendyk, has been officially renewed for Season 3. (Netflix)
Nicholas Weinstock AB ’91 is among the producers on CLARISSA, the Lagos-set reimagining of Virginia Woolf’s MRS. DALLOWAY that has been acquired for worldwide rights by NEON. (Variety)
Bess Wohl AB ’96 continues to make strides in the theater world with a major licensing deal for her acclaimed play LIBERATION, which has been acquired by Concord Theatricals for worldwide distribution. (Playbill)
Alan Yang AB ’02 and Mike Schur AB ’94 are among the executive producers behind DANG!, an adult animated comedy series that Netflix has ordered for its 2026 lineup. DANG! follows a brother and sister whose fun, messy lives in New York City are interrupted when their worst nightmare comes true: their high-achieving older sister shows up and wants to hang out with them. (Deadline)
Exclusive Q&A with Brittney Russell HMS Media & Medicine '20 (director)
Brittney M. Russell is a dynamic Bronx-born filmmaker and storyteller whose work is rooted in advocacy, authenticity, and the pursuit of justice. As a first-generation Jamaican American, she draws inspiration from her community’s resilience and cultural richness, using her lens to amplify underrepresented voices and challenge systemic inequities.
Brittney's filmmaking journey began in the public health sphere, where she uncovered her passion for documenting real-time stories that matter. Her work reflects a commitment to truth-telling, spotlighting critical issues such as maternal health disparities, social justice, and the lived experiences of marginalized groups.
A rising force in the industry, Brittney combines her talent for narrative-driven storytelling with an eye for visual artistry, creating compelling films that not only inform but inspire change. Her dedication to capturing the unfiltered realities of her subjects continues to shape her as a bold and visionary filmmaker.
Q: Congratulations on YOU ARE NOT ALONE. The documentary’s topic is both sensitive and powerful. What made you realize it was time to tell this story now?
Thank you. I work in public health (inspections for schools and daycares), and I realized the stark differences in education, environmental factors, and ultimately how children learn... through zip codes. New York City is so vast in experiences however I could not ignore who gets the better end of the stick based on where you live in the city. There was one inspection that really let me set the film in motion—I was on the Lower East Side in the morning of the day preparing to enter a school, and I saw a young mother who was pregnant, struggling to get her toddler inside the classroom. She looked very disheveled and stressed. The question then became: well, if she can feel this... I wonder how her baby she’s carrying is feeling? What stress is she going through while trying to make ends meet, and how can that affect the child she’s forming? After that, I went home and did tons of research on my own neighborhood (The Bronx) and found out that we have the highest rates of maternal mortality in New York. That caused me to freeze and automatically get to work.
Q: What has been the most resonant or important audience reaction that you’ve had from those who have seen this film?
Oh! The top two would be “we never knew this was happening! We live here and didn't even know?” Then the second reaction (from mothers who watched the film) was “oh, I had a similar situation... I knew it was bad but I didn’t know who to go to.” Both are heartbreaking.
Q: What was the most challenging part of filming? What was a pleasant surprise during the process?
The most challenging part was wanting to keep all the information the women told me. There was a wealth of knowledge, pain, revelation, and really deep insight that they have, and it was VERY challenging to see which parts would fit into a particular timeframe. Everyone was so gracious to share their experiences. I wanted every subject to express themselves and hold space for their experiences. The pleasant surprise during this process was the healing journey I was able to go on while making this documentary. I had a very life-changing medical episode during filming, and this process gave me insight into how I should be present in my own body.
Q: Have you always been interested in documentary filmmaking? As a child, was there something that inspired you to want to tell stories?
ABSOLUTELY. As a child, I loved (obsessed over, actually) music documentaries and music videos. The original plan was to go to med school and be a doctor, but I could never knock the feeling of wanting to create. Dr. Sanjay Gupta is a huge hero of mine, and I figured that if I wasn’t going to do medical school, how could I make films that inspired people or invited them into the world of others? It played out well.
Q: How did your involvement with Harvard’s Media & Medicine program help you craft this story? What was the most important thing you learned during your participation?
Harvard Media and Medicine was a leap of faith for me. I went in with the story of environmental injustice and then I was paired with an incredible mentor—[filmmaker] Robb Moss. I told him that I have a passion for equity, and I want to share with the world what women in The Bronx go through. He said (and I laugh till this day sometimes due to me having zero experience in film), “ Ok, it’s achievable” and went right into telling me what I needed to make my film a reality. He didn’t question that I have never held a camera or had any formal training in film & media. He wanted to make sure that it was truthful, honest, and that whatever I had to say was felt through the screen. That’s what I carry with me into my other projects from this program—perseverance and staying the course to spread an impactful message in the media.
Q: What is your dream for this documentary? What tangible outcome would you like to see put forth into the world as a response to this work?
My dream for this documentary is to keep the conversation going on how to provide change in The Bronx for birthing people. That could look like birthing centers in our borough, pre- & postnatal support for all families in the borough, especially the residents of lower socioeconomic status. I would also love this film to be a part of academic studies for public health and medical schools, and/or health-adjacent studies. I’d want the people who seek to help women, especially women of color, to know what their patients are facing before they reach them for care.
Q: How does your background as a first-generation Jamaican American woman influence your storytelling process, both with this project and with other projects?
I’ve never got a [chance] to expound on this (thank you). Being a first-generation Jamaican American gives me a hyper sensitivity to storytelling—especially in these times. I have the privilege to see how being the child of an immigrant carries a responsibility of truth. My goal in life as an artist is to shed light on stories in this country that may have been swept away, whether by accident or intentionally. My intentional duality in storytelling helps me zone in on my approach in observation of people, the history of those people I interview and meet, and my connection to the story.
Q: What is one thing you would like to see more of in the film and TV industry?
Music. I’d like there to be more music. Music played a huge role in my film. There was a time when, for me growing up, the music was intentionally written for the film. Then, there were videos (music videos) in correlation to the film. Artists went the extra step to spread the message of what the audience spent time watching.
Q: Is there a filmmaker or documentarian who inspires you, or a piece of media you think everyone should see?
Rungano Nyoni. Her film ON BECOMING A GUINEA FOWL is timeless. Then there’s Ryan Coogler, incredibly talented, and Kevin Macdonald. A piece of media I think everyone should see: SCENT OF A WOMAN.
Harvardwood Creative Salon - March (Virtual)
Friday 03/13
Come and showcase your work to the Harvardwood community! Our goal with this salon is to provide a space where creatives can come together and showcase ten minutes of their work—whether a performance, reading, an idea, short film, music video, or any other creative outlet! The group can help workshop and provide feedback, or merely provide an attentive audience.
Oscars Watch Party LA (Los Angeles, CA & New York, NY)
Sunday 03/15
Join us for an in-person Oscars Watch Party in both NYC & LA!
How accurate are your picks for Best Actress and Best Actor? Who will take home the Oscar for Best Picture this year? Watch the fashion, excitement, and drama of the 96th Academy Awards with other members of Harvardwood, LIVE AND IN-PERSON!
The LA Party will be held at the St. Felix Hollywood, an award-winning restaurant/lounge with locations in Hollywood and West Hollywood. At our viewing party, you can order from their delicious menu of signature cocktails and dishes, shared plates, desserts, and more!
The NYC Party will be held at Manhattan Neighborhood Network and is co-hosted by the Harvard Gender & Sexuality Caucus, Harvard Black Alumni Society, & Alumnae-i Network for Harvard Women! There will be food and non-alcoholic beverages.
Global Networking Night (LA, other cities)
Wednesday 03/25
Calling all alumni! Harvard alumni are coming together in cities around the world for a night of connection and community on March 25, Harvardwood is cosponsoring the LA event and will have members attending in other cities as well. Register now to reconnect with friends and classmates and expand your Harvard network. Connect your social media accounts to the guest list to more easily connect with other attendees before, during, and after the event.
Last Month at Harvardwood
Last Month at Harvardwood, we finished the Harvardwood Pitch Lab, met up with the Harvardwood Features group, and more!
Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!
Become a Harvardwood member! We work hard to create programming that you, the membership, would like to be engaged with. Please consider joining Harvardwood and becoming an active member of our arts, media, and entertainment community!
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