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Harvardwood HIGHLIGHTS - November 2023

Updated: Nov 27, 2023



In this issue: MESSAGE FROM HARVARDWOOD

NEWS

  • Seeking Winternship Opportunities for Harvardwood 101 Students (Virtual or In-Person)

  • Seeking Homestay Hosts for Harvardwood 101 Students

  • Featured Job: Production Specialist Sony Music Entertainment US - LA

FEATURES

  • Alumni Profiles: Melinda Hsu AB '92 (showrunner)

  • Industry News

  • Welcome New Members

  • Exclusive Q&A with Andrew Colville AB '94 (screenwriter, producer)

CALENDAR & NOTES

  • Virtual: London Chapter Meet & Greet

  • NYC: Backstage Access to Paul Taylor Dance Company at Lincoln Center

  • LA: Kiran Deol's Comedy Special Taping

  • Virtual: Creating Free Time with Dr. Alex Soojung-Kim Pang

  • Virtual: The Intersection of Business and Media

  • LA: Harvardwood Holiday Party 2023

  • Last Month at Harvardwood

Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!



November is upon us, winter is imminent, and we at Harvardwood are Seeking Winternship Opportunities for Harvardwood 101 Students, as well as Homestay Hosts for Harvardwood 101 Students! For just the price of a cup of coffee, you could have a cup of coffee and help a 101 student. A month full of events from Backstage Access to Paul Taylor Dance Company in the Big Apple (NYC) to Kiran Deol's Comedy Special Taping in the big Erewhon Strawberry Glaze Skin Smoothie (LA), there's something for everyone! If you don't have time to go somewhere, learn how to Create Free Time with Dr. Alex Soojung-Kim Pang right from home!


As a reminder, we have new membership tiers with expanded perks + benefits to go with our snazzy new website! Be sure to sign up for the new membership; we're very excited to enter this new era with you all! As always, we want to hear from you, our members — 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.

Please consider donating to Harvardwood. Your donations are tax deductible! Best wishes, Grace Shi Operations and Communications Associate Harvardwood grace@harvardwood.org


Seeking Winternship Opportunities for Harvardwood 101 Students (Virtual or In-Person)

The annual Harvardwood 101 career exploration program for undergraduates is coming up in January 2024! If you or your company are interested in hosting one or more current Harvard College students, either virtually or in-person, we offer our Harvardwood 101 Winternship (formerly known as “J-Termship”) program, which matches students with companies for 1-2 week educational experiences. You can think of them as informal short-term internships or “shadowing” opportunities. Official program dates are January 8-19, 2024, and Winternships can last between 1-2 weeks during that time or be open-ended if you find that your needs extend past the dates of the program. Examples of support that our students can provide include short-term research, general organizing, exploring emergent digital technologies, social media support, etc. We just ask that you provide about 15-20 hours per week of experiential learning for them (working on projects, observing meetings, etc) and chat individually with your student(s) for 30-60 minutes per week. They’d be eager to learn from you in any capacity! If you’re interested in a Winternship match, please contact our Programs Manager Laura Yumi Snell at lsnell@harvardwood.org.

 

Seeking Homestay Hosts for Harvardwood 101 Students


Every year, our Harvardwood 101 career exploration program offers a few dozen Harvard College students a once-in-a-lifetime opportunity to attend discussions with Hollywood executives, agents, writers, and artists. Though we pivoted to digital programming for the past three years, we’re thrilled to return to an in-person experience again this year.


Our Harvardwood 101 “Winternship” program (short-term professional experiences) spans 1-2 weeks in January (approx Jan. 6-22), and we are currently looking for homestay hosts during that time in LA and NYC.

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 contact Programs Associate Laura Yumi Snell at lsnell@harvardwood.org with your name, address/neighborhood, and the number of students you’re able to host. Thank you!

 

Featured Job: Production Specialist Sony Music Entertainment US - LA


Job Description:

The Production Specialist position is a support role where you will be responsible for managing the order entry to completion. The Production Specialist enters the process early in the production stage, works with the production managers, and assists with the process through to the end point of product delivery. They will be involved in Ecommerce and Tour production channels.



Alumni Profile: Melinda Hsu AB '92 (showrunner)

by Laura Frustaci

Melinda Hsu AB '92 was the showrunner of NANCY DREW as well as the showrunner/co-creator of TOM SWIFT. A lifelong genre geek, she started writing at age 8, when she authored a STAR TREK fan fiction novella series on a stack of spiral notebooks in her childhood bedroom in Bangor, Maine. Her TV credits include LOST, THE VAMPIRE DIARIES, THE GIFTED, FALLING SKIES, STAR WARS: THE CLONE WARS, MEDIUM, and one-hour pilots for Netflix, Quibi, NBC and Lifetime. For her work on LOST, she was nominated for an Emmy and a Writers’ Guild Award. She is an alum of the Warner Bros. TV Drama Writers' Workshop as well as an alum of and presenter for the WGA Showrunner Training Program. She mentors writers and producers through CAPE, helped found the Asian American Writers’ Brunch, and also serves on the Executive Board of the Sarah Jones Film Foundation, which fosters set safety through awareness and accountability.

Melinda Hsu AB '92 is a successful television writer, showrunner, activist, and now podcast host. But if you had asked her when she graduated college, she wouldn’t have been able to tell you she would end up in TV. “I didn’t know I wanted to go into television,” Melinda explains. “I wanted to be a novelist, and then I went to film school and thought I would be an indie filmmaker and write screenplays.” She arrived in LA post-grad and worked just about “every terrible day job that you can imagine,” she laughs. “I was a secretary. I was an office manager at an architecture firm. I was a musical theater pianist, which paid pennies. If it paid better, I probably would still be in musical theater.” But eventually, Melinda ended up applying for the Warner Bros. TV Drama Writers’ Workshop on a longshot with a LAW & ORDER spec script that was the first television content she’d ever written.


She was accepted, and during the program, Melinda was mentored by a writer named Natalie Chaidez (THE FLIGHT ATTENDANT, HEROES, and TERMINATOR: THE SARAH CONNOR CHRONICLES). Natalie worked with Melinda on the script, pushing her to new heights. Melinda recalls fondly, “The thing that she wrote to me in her introductory letter, and I'd never heard anyone else say this yet in my life, was: ‘I want to see you succeed.’ And that made such an impact on me.”

After the workshop, Melinda began to get hired onto the TV writing staffs of a series of network shows and moved steadily up the ranks to showrunner. “I love being a showrunner,” Melinda notes. “But I also love to create a culture of kindness and inclusion and professionalism. And that is what I’m about.” This guiding energy is instrumental throughout all of Melinda’s work, both onscreen and behind the scenes. It’s evident from the stories she tells in the work she creates, as well as the upcoming projects she has on the horizon. It all stems from some of the formative experiences she had as a young writer.


Recently, Melinda was profiled in BURN IT DOWN, a book which unpacked the toxicity and dysfunction of Hollywood behind closed doors. She subsequently realized how common her negative experiences were for others across the industry. “[That book] was really important to say this was a reality for us, and these are the impacts that it had on us as people,” Melinda affirms. “And one of the things that came out of that for me was a management training seminar idea.”


Melinda is workshopping a management program to bring to writers’ rooms across LA that will provide writers with a framework for how to curate a kindness-driven, positive work environment that’s inclusive and nurturing for everyone. “People need to hold themselves to basic standards of how decent behavior operates in a workplace,” Melinda asserts. “I call the program, ‘It’s Not Rocket Science’.”


The structure of the program is a two-day workshop, in person, based on Melinda’s successful experiences at the helm of the writers rooms for both NANCY DREW and TOM SWIFT. “When you tell people that you’re excited about what they bring to the table, or that you’re all excited together about the thing you all love… they commit and they want to contribute, and they feel safe enough to say I need help with this, or I don’t have the answer right now.” This is what Melinda strives to do in her own work, and what she wants to bring across Hollywood. Her program will focus on equipping writers with conflict resolution skills, creating room norms, fostering communication, and implementing general team building as well as demonstrating how leaders can encourage a positive and empowering workplace environment.

“If a leader walks into a room and says, ‘I want you to treat each other with kindness and professionalism. Show me you can do that. That will please me,’ people would change. It's not rocket science!” Melinda declares. “And this brings me to my podcast, which I just started with Mosaic Management. It’s essentially conversations about changing the culture of Hollywood. But I believe it’s applicable across any industry or any group of people, because it comes down to setting an example. Starting with how important it is to look people in the eye and acknowledge that they did the thing that you asked them to do.” The Lead With Kindness podcast is launching in November, follow IG @leadwkindness for updates.


As is evident through her passion and her track record, Melinda believes that leadership is a teachable skill. And that’s what she aims to help people learn through this management program, as well as her podcast, and in her work with nonprofit organization Girls Inc.


Girls Inc. is working to dispel and counteract limiting stereotypes by lifting up young people who identify as female, trans, non-binary, or questioning. The organization provides mentorship opportunities, community-building events, and leadership skill development in underserved areas where young people may not normally have access to advocacy that encourages them (per the organization’s mission statement) to be “smart, strong and bold”.


“Smart is something that I grew up with as a daughter of immigrants… but strong and bold? We weren’t encouraged to be bold or strong.” The messaging Melinda received instead was “never ask for help, and make yourself as invisible as possible, and make yourself a second-class citizen, and be obedient. The list goes on and on,” she recollects.


“There are a lot of girls out there, and trans and non-binary and questioning youth, who have been told by somebody, whether it’s the culture or their parents, or somebody else in their family, or just somebody in their community, that they're supposed to be a certain way. They’re not allowed to be as bold as a man. They’re not supposed to be as strong as a man. They’re not supposed to be as smart as a man,” Melinda states. “How great to have this organization that says, ‘You shouldn't make yourself small. You should not accept that.’ That’s why I like Girls Inc.”


The organization is hosting its annual Los Angeles luncheon on November 8th, for which Melinda is on the planning committee. Tickets for the luncheon can still be purchased on the website, but there are countless other ways to get involved beyond attending the in-person lunch in LA. “If you’re somebody reading this, and you have a mentorship opportunity or shadowing opportunity in your profession for a young person who is working with Girls Inc, that's amazing,” Melinda encourages.

And Girls Inc. empowered Melinda in her own career as well, demonstrating that we all must continuously work to break down our own internalized misogyny. During the pandemic, Girls Inc. hosted a Zoom film festival, and Melinda directed one of the short films. “That was actually one of the things that gave me enough confidence to say, ‘I'm going to direct an episode of NANCY DREW in Season 4,’” Melinda recalls. “I was telling another female showrunner friend of mine, ‘Yeah, you know, I do want to direct at some point, but I guess I’ll just wait for when it seems like a good time,’ and she was like, ‘No, just put yourself on the roster now. A white, straight cisgender man would do that. Why wouldn’t you?’ And she was right.”


Melinda notes on an uplifting conclusion that in her work, her priority is to lead with kindness, validation, and trust: “I really feel like the best thing I can do as a leader is to tell somebody I trust their judgment. It empowers them to be brilliant and to do the thing that they are a professional at… and I find it empowering, you know, to admit that I don’t have all the answers.” Relying on others and creating communal creative experiences is Melinda’s specialty, and of course, it shines through in every avenue of her work.


Go to www.girlsinc.org to see how you can get involved!

----- Laura Frustaci (AB ’21) is an NYC-based actor and writer. She recently completed a yearlong Harvard Postgraduate Traveling fellowship in Edinburgh, Scotland, where she wrote her first full-length play. While at Harvard, Laura studied English and performed with the Hasty Pudding Theatricals, the HRDC, On Thin Ice, and the American Repertory Theater.

 

Industry News


GOODNIGHT, HAIRIETTE a puppet musical film from creator Tanya Wright (Ed.M. ’22), premieres at Harvard on November 9th. Register here to attend the screening. (Hairiette of Harlem)


Nicholas Britell (AB ’03), the Emmy-winning composer of SUCCESSION, sat down with IndieWire to discuss the music of Andor, and especially expanding the STAR WARS musical lexicon by looking closely at the emotions that motivate the hero of ANDOR. (IndieWire)


Congratulations to Stephen Polakiewicz of the Boston Harvardwood Writers Program! His script, DARK MAGIC KINGDOM, has been selected as a finalist for the Austin Film Festival’s Sci-Fi Award. (Austin Film Fest)


Season 3 of TOM CLANCY’S JACK RYAN, co-produced by and starring John Krasinski and executive produced by Carlton Cuse (AB ’81), will launch all 8 of its episodes on Amazon Prime Video on Wednesday, December 21. (Deadline)


Variety says that the latest concert at the Greek Theater in L.A. with Bonnie Raitt (RAD ’72) and Mavis Staples made “for a two-sided portrait of what heart, soul and understated heroism look like in music.” (Variety)


Mark Sourian (AB ’95) executive produces Apple TV+’s new action thriller, ECHO 3, which premieres on Wednesday, November 23, 2022. The series comes from Oscar winner Mark Boal (THE HURT LOCKER, ZERO DARK THIRTY). (Show Biz Junkies)


RED DOORS, the award-winning feature debut of Georgia Lee (AB ’98), produced by and co-starring Harvardwood founder Mia Riverton (AB ’99), is streaming on Amazon, Roku, Tubi, Shout! Factory TV, and Freevee. Tzi Ma (@tzima8), Jacqueline Kim, Elaine Kao, and Sebastian Stan also star.


The Jim Henson Company will spotlight the Jewish immigrant experience in a live-action adaptation of the classic ALL-OF-A-KIND FAMILY books by Sydney Taylor, which will be executive produced by Lisa Henson (AB ’82). (Kid Screen)


The GOOSEBUMPS series in the works at Disney+, which is co-written and executive produced by James Eagan (AB ’99), has added Justin Long to its cast as a series regular. The show is based on the popular book series by R.L. Stine. (Variety)


The Guardian calls SHE SAID, the new movie about the Harvey Weinstein scandal scored by Nicholas Britell (AB ’03), a “stirring drama” that “offers sensitive, resonant recent history.” (The Guardian)


Wiip has optioned THE MEMO, the forthcoming novel by former Wall Street Journal reporters Rachel Dodes and Lauren Mechling (AB ’99). Wiip will develop the book for TV with Lean Machine, the production company headed by Aline Brosh McKenna. (Deadline)


Hulu has ordered 10 episodes of INTERIOR CHINATOWN, a drama series from 20th Television and creator/exec producer Charles Yu, who wrote the 2020 bestseller of the same name. Dan Lin (MBA ’99) Executive Produces on behalf of Rideback. (Deadline)


Watch THE WRAP’S SPOTLIGHT CONVERSATION with Strauss Zelnick (MBA ’82 JD ’82), presented by Take-Two Interactive. They’ll discuss the current state of gaming, if the industry has hit its ceiling, and if Take-Two is a target of acquisition among other topics. (Youtube)


Chase Sui Wonders (AB ’18) will star in former SNL comedian Pete Davidson’s upcoming TV show, BUPKIS. Written and executive produced by Davidson, BUBKIS is described as a fictionalized, heightened version of Davidson’s own life. (Character Media)


Jennifer Morrison (ONE OF US IS LYING, EUPHORIA) and Laura Belsey (THE WALKING DEAD, SHADOW AND BONE) will direct episodes of DR. DEATH Season 2 for Peacock. Marshall Lewy (AB ’99) is an Executive Producer on the series for Wondery. (Deadline)


BAND OF BROTHERS writer Bruce McKenna is teaming with David Broyles and Nick Jones Jr. to write and produce a limited TV series BUFFALO RANGERS about the only all-Black spec ops combat unit in U.S. history. Debra Martin Chase (JD ’81) produces. (Variety)


FX has handed out a pilot order for drama THE BENDS from writer Paul Attanasio (AB ’81 JD ’84). The drama follows a seemingly perfect American family in Berlin whose secrets are uncovered when they hire a nanny trying to expose the parents’ corruption. (Hollywood Reporter)


Producers Marty Bowen (AB ’91) and Wyck Godfrey of Temple Hill Entertainment are developing CLOWN IN A CORNFIELD, a new YA slasher thriller centering on a midwestern town where Frendo the clown (a symbol of bygone success) reemerges as a terrifying scourge. (Deadline)


Jeff Yang (AB ’89)’s new book THE GOLDEN SCREEN: THE MOVIES THAT MADE ASIAN AMERICA was released on Oct. 24 (Hachette Book Group)

 

Welcome New Members

Harvardwood warmly welcomes all members who joined the organization last month:

  • Omarion Perez

  • Abdeljaleel Ismail

  • Susan Bin

  • Emma Roberts

  • James Lockowandt

  • Karen Swain

  • Giselle Acosta

  • Zeke Smith

  • Eric Stockman

  • Tiffani Mezitis

  • Elizabeth Swaney

  • Brian Paison

  • Virginia Youngren

  • Michael McCauley

  • Louis Cutrona

  • Stephen Senturia

  • Elisa Speranza

  • Susanne Beck

  • Russell Johnson

  • Ashley Zigman

  • Katie Sevier

  • Emily Baskin

  • Christos Hatzopoulos

  • Elson Bankoff

  • Jennifer Paley

  • Morgan Eiland

  • Peyton Wright

  • Gunnar Sizemore

  • Keith Mascoll

  • Kelly Flaherty

 

Exclusive Q&A with Andrew Colville AB ’94 (screenwriter, producer)

Andrew Colville AB ’94 is an Emmy-nominated and WGA Award-winning screenwriter. He studied English at Harvard and graduated in 1994.


Q: The first episode of the new series MONARCH: LEGACY OF MONSTERS that you executive produced is coming out on the 17th of this month. In what ways does the show reinterpret the canonical character Godzilla, and/or how does it pay homage to historical renditions of the monster?


We don’t reinterpret the character, but we do shift the perspective from which Godzilla is viewed. MONARCH takes the POV of the people staring up at this terrifying creature. How does it feel to be as insignificant to Godzilla as an ant is to us? Does life seem more fragile or precious? How does that vulnerability color your relationships with your friends and family? We try to imagine what it’s like emotionally to inhabit such a world.


Q: What are you most excited for audiences to see throughout the 10-episode arc? What’s been the most exciting or rewarding part of the process?

People are going to come to MONARCH for the monsters, but hopefully they’ll stay for the family saga. Imagine discovering that multiple generations of your family had secretly been chasing monsters. That it had gotten some of them killed and traumatized others, yet your father keeps trying to save the world -- and now you’ve gotten wrapped up in monsters too. Is it the family business, or the family curse?


Q: Your list of professional credits includes writer, producer, and executive producer on shows like MAD MEN and SEVERANCE. Do you prefer the producing roles or writing roles in the industry? Why?


I think writing is harder but more satisfying. There’s nothing that’s more fulfilling than creating something out of nothing, a scene from the blank page. I agree with what a colleague once said about screenwriting – “It is rocket science.”


Producing used to be sitting on set at video village and giving the actors a few line tweaks between visits to the craft services table. But with streaming and the larger scale of projects these days, producing has become much more demanding, another whole round in the writing process. On MONARCH we are constantly re-writing for location and visual effects. Not to mention for actors, who now come from movies and are used to having more creative input in the process. There are more balls to juggle in the air and a lot more pressure. But the thing that guides my producing is always the writing. I had a boss say that if you know the intention of a scene, why a character says or does something, then you can tell the costumer what clothes they would be wearing, or the set dresser what objects they keep on their desk. And if you know the story well, then you know what you must shoot and what you can live without.


Q: How did you know that you’d “made it” in the industry? Do you have a “big break” story?


I’m still waiting to feel like I’ve “made it” in the industry. But I remember the time when I felt like I had gotten my foot in the door.


I came up via the path of being an assistant, and one day my boss told me he needed to go to traffic school. Okay, I said, I’ll schedule you for some evening or weekend. Nope, he insisted, it’s got to be today (otherwise he’d be assessed points on his license). Fine, I said, I’ll find you something that meets right away. Are you nuts, he replied -- I have to run the writers’ room (these were the days before you could do traffic school online). So I needed to find a creative solution…


I called around, and when I heard a Russian voice on the other end of the phone I figured he might be open to “negotiation.” My boss and I drove over to his office, which had dirty chalkboards with flip-top desks. It was a Potemkin classroom, purely for show, and when we sat down with the proprietor he asked my boss for two things: “Show me a picture and a portrait.” We looked at each other – huh? The proprietor elaborated – he needed the photo from my boss’s driver’s license and a portrait of Benjamin Franklin from a hundred dollar bill. My boss turned to me and smiled, “You can have dibs on that line.” My law-breaking/loyalty was rewarded when he gave me my first staff writing job a couple years later. Though I’m still waiting for the right scene to use that line.


Q: When you approach your creative work, what are the core tenets that you try to follow in your process?


The first thing I do is gauge my immediate reaction to an idea. Is it exciting to me, and if so, why? Does it appeal to my heart, my mind, or hopefully both? Has it been done before, and if not, would I want to watch it? Then the tests get a little more technical – what form and length does it take? What genre(s) is it? How can I convince other people to feel the same way I do about this, and what would be the obstacles to selling it? Once I’ve written something, I only have two tests to evaluate it, which come from my wife, a casting director: Do I buy it? And do I feel it?


One thing I’ve learned the hard way over the years is to start with a unique character, versus a premise or hook. Even if you begin with a cool world, you need to raise your characters to the quality of that world. A producer I’ve often worked with says that the trick is to create a character so good that an exec will walk it down the hall of their office to present it to the boss. I keep that in mind, asking myself – is this a character somebody would walk down the hall?


Q: What’s been your favorite project you’ve worked on to date, and on what project have you learned the most?


My favorite series that I’ve worked on has been TURN, about Washington’s spy ring in the Revolutionary War. It wasn’t a hit, but I’ve had a number of people tell me how much they enjoyed it, how well-written and acted it was (my wife cast it). It’s also nice to be on a series for a long run. Not only do you get to tell the whole story you hoped to tell, you get to do it with your friends for a number of years.


Writing the first season of SEVERANCE was also lovely because the entire staff knew creator Dan Erickson had come up with something amazing, but it was something only we shared at the time. We hoped people would eventually come to love this world as much as we did, but for the moment it was just our little sandbox to play in.


Q: In what ways (if at all) did your time at Harvard influence the path you have taken since graduating?

The thing I gained from Harvard was inspiration. Whatever success you can aspire to, somebody from Harvard has probably already done it. And if they can do it, why can’t you? Some people might look at that as stifling, but I find it helpful and comforting to always have an example of somebody to look up to.


Unfortunately, there’s also a lot of pressure at Harvard to be considered a success right away, which often means funneling seniors into jobs in banking, consulting, and the law. But I remember talking with Stephen Greenblatt, the renowned Shakespeare professor, who related how he’d felt pressure at my age to become a lawyer. It wasn’t that he hated the idea, just that it didn’t quite suit him, and he held off doing what he was supposed to do until what he wanted to do became clear. It’s difficult to have patience, particularly for a Harvard student, and to be okay with not knowing where you’re headed, but I found his advice very helpful. A year later, when I was studying in England, I kept shirking my philosophy reading to go to movies at an arthouse cinema, and I realized I had found my calling.


Q: What advice do you have for young aspiring creatives hoping to break into television? Do you have a favorite TV show you’d always recommend that helped shape your creative voice as a writer?


I went to USC film school after Harvard, and my advice to people is – don’t do that. At least not as a grad student. You lose time that could be spent making industry contacts and the debt has been back-breaking for many of my classmates. I would have done Harvardwood instead if it had been around at the time, it’s impressive that this organization staffs more TV writers than film schools that cost tens of thousands of dollars a year. Try to avoid debt as much as possible so that you can take entry-level jobs that may not pay as much but build relationships.


I realized early on that Hollywood is an apprentice culture based on loyalty, which it mostly remains to this day. Being an assistant isn’t the only way in, but you do need someone to champion you or your writing. It’s dizzying the number of scripts that are submitted to showrunners, and the choice for them is reading pilot after pilot from strangers or playing with their kids. So naturally people are going to give an opportunity to somebody they already know, particularly if they like that person. Even if that’s based more on getting them out of traffic school than the initial quality of your writing.

As for influences, THE SOPRANOS was the series that made me want to be a writer. It has everything – character, incident, specificity, an opinion about the state of our country, and especially humor. I’ve never seen anything that could be funny on so many levels, how you could laugh with and at the characters at the same time, even in the most dramatic situations. I remember Matt Weiner repeating something David Chase told him, to imbue the most serious scenes with humor and play the funniest scenes dead straight. The more some asshole wants something but can’t have it, the funnier it ends up being.


Q: How do you like to spend your time when you’re not working?


My wife and son and I are big LAFC supporters and we try to attend every game here. I’ve played soccer my whole life, but it’s been fun to see my wife go from being someone who barely cared about the game to becoming such a diehard fan.


I sang a lot at Harvard and love music of all sorts. I feel like the more I listen to music – versus putting on a podcast – the more I’m tapping into emotions and connecting to other people. People sing about the things they really want, and that gives you more insight into humanity – or at least the good parts of humanity – than whoever’s angling to be the next Speaker of the House.



Virtual: London Chapter Meet & Greet

Thursday 11/2 (Virtual)

Join us for an interest meeting for the relaunch of Harvardwood's London Chapter, spearheaded by Elizabeth Filippouli KSG '04.

 

NYC: Backstage Access to Paul Taylor Dance Company at Lincoln Center

Tuesday 11/7 (In-Person)

Join us for an exclusive evening at Lincoln Center! After the performance, we will be invited backstage for a private tour and Q&A with company member Madelyn Ho (AB ’08, MD ’18).


 

LA: Kiran Deol’s Comedy Special Taping

Sunday 11/12 (In-Person)

Random acts of violence aren’t funny - unless they happen to Emmy-nominated standup comedian Kiran Deol (AB ’06). After a stranger smashes a bottle into Kiran’s face in 2022, the DA empowers her with the choice to punish her assailant with either 6 years in prison or 2 years of probation.


 

Virtual: Creating Free Time with Dr. Alex Soojung-Kim Pang


Tuesday, 11/14 (Virtual)

Join Harvardwood for a conversation with author and program director of 4 Day Week Global, Alex Soojung-Kim Pang, moderated by Harvardwood President Allison Kiessling!

 

Virtual: The Intersection of Business and Media


Monday 11/27 (Virtual)

Join us for a virtual panel conversation with four incredible speakers: Whitney Baxter (MBA ’11), Tracey Bing (MBA ’01), Gene Pao (MBA ’97), and Larry Wasserman (MBA ’04). HBS Students and current Harvardwood members can attend the event for free.

HBS Students, please email admin@harvardwood.org for a discount code!


 

LA: Harvardwood Holiday Party 2023


Sunday, 12/3 (In-Person) Join us for an evening of drinks, apps, and mingling to celebrate the 2023 Holiday Season! RSVP HERE

 

Last Month at Harvardwood


Last month at Harvardwood, we mixed and mingled with Penntertainment (the DC universe Harvardwood), watched and pondered THE ENGAGEMENT PARTY with playwright Sam Baum AB ’98, broke down independent film distribution with Gene Pao MBA ’97, got the lowdown from Adam Fratto AB ’90 and Mia Riverton Alpert AB ’99, and much more!


 

List of All Upcoming Harvardwood Events Here 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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