Harvardwood HIGHLIGHTS - November 2025
- 5 hours ago
- 21 min read
In this issue:
MESSAGE FROM HARVARDWOOD
NEWS
Pitch Lab for TV Writers - Applications Open!
2026 Harvardwood Writers Competition (HWC)
Harvardwood Artist Launch Fellowship and Harvardwood Emerging Visual Artist Fellowship Applications
Seeking Winternship Opportunities for Harvardwood 101 Students (Virtual or In-Person)
Featured Job: Digital Associate Producer, Dateline
FEATURES
Harvardwood Profile: Renee Zhan AB '16 (filmmaker)
Industry News
Welcome New Members
Exclusive Q&A with Kim Onah AB '15 (actor)
CALENDAR & NOTES
Financing a Documentary (Virtual)
November Harvardwood Creative Salon (Virtual)
Harvardwood Writers Program Info Session (Cambridge)
Harvardwood Artist Launch and Harvardwood Emerging Visual Artist Fellowship Info Session (Virtual)
Harvardwood Lowdown (Virtual)
LA Harvardwood Holiday Party 2025 (LA)
Last Month at Harvardwood
Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!
It's November and 92 degrees in LA! Ah, the autumn hot smog.
The 2026 Harvardwood Writers Competition is open; it's time to re-open that cursed 2019 .fdx file. Also open are the Harvardwood Artist Launch Fellowship and the Emerging Visual Artist Fellowship. Boy, you'd think with all these applications we were giving money away... And we are! So apply!
In the Harvardwood Calendar Universe (the HCU), we are opening the month with a Financing a Documentary panel, then a Creative Salon, and info sessions for the aforementioned Fellowships. All this is capped with our Harvardwood Lowdown all-star, action-packed ensemble team-up.
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
Pitch Lab for TV Writers - Applications Open!
Eight Sessions, limited to 10 participants.
DATES: From 5:30 to 8:30 PM PT over Zoom on these dates: Jan 13th, Jan 15th, Jan 20th, Jan 22nd, Jan 27th, Jan 29th, Feb 3rd, and Feb 5th.
PLEASE ONLY APPLY IF YOU CAN ATTEND ALL DATES FOR THE FULL THREE HOURS.
As a writer/creator for TV, there’s nothing more essential than knowing how to effectively pitch your ideas. Whether your goal is to sell a show, talk about a script you’ve written, or participate in a writers’ room, mastering the art of sharing your ideas is something that every scribe needs for success.
This module will be run by Steve Harper (Co-Ep TRACKER, STARGIRL, TELL ME YOUR SECRETS, GOD FRIENDED ME) and Emmylou Diaz (Co-EP Untitled Amazon Thriller, THE WATCHFUL EYE, STATION 19, JANE THE VIRGIN). During the first session, they will lay out the fundamentals of pitching a new TV show (this lab has an emphasis on TV, although the principles also apply to features), and provide a framework and some essential tools to do it well. The following sessions will be focused on listening to the participants' pitches, and giving support as they are developed. Each writer will have the opportunity to run through a short 5 - 10 min pitch and a longer 20-minute pitch on two different dates. All participants will be asked to join in group discussions of the pitches and should be prepared to engage in a collaborative, positive environment.
$150, open to full members only. 10 participants will be accepted.
2026 Harvardwood Writers Competition (HWC)
The Harvardwood Writers Competition (HWC) was founded in 2006 with the aim of recognizing superior work by Harvard writers and giving these talented individuals the opportunity to gain industry exposure.
We're accepting submissions of half-hour pilots, one-hour pilots, one-act plays, and feature scripts.
HWC applicants can opt to receive judging comments and feedback for each script submitted. The notes are aimed to illuminate judges' reactions to your script (beyond the numerical average of your scores received by semi-finalists and finalists) and may be useful to you for future rewrites.
Only Full Members of Harvardwood are eligible for the competition (Friends of Harvardwood are ineligible). To become a Full member, non-members can register by clicking here.
Deadline: Monday, November 24th
Entry Fee: $55
Harvardwood Artist Launch Fellowship and Harvardwood Emerging Visual Artist Fellowship Applications
We are thrilled to launch applications for two fellowships due Monday, January 19th.
The Harvardwood Emerging Visual Artist Fellowship is in its second year. This year, the committee will award a fellowship amount of $24,000 to one visual artist.
The Harvardwood Artist Launch Fellowship is in its fifth year, and the committee will award at least one fellowship amount of $24,000 to an artist in any discipline other than the visual/fine arts (filmmakers are eligible).
If you have questions about eligibility, please read more on the HEVAF here or the HALF here, or email us at admin@harvardwood.org.
APPLY HERE for HEVAF
APPLY HERE for HALF
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 2026! 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 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 12-23, 2026, 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.
Featured Job: Digital Associate Producer, Dateline
Job Description:
Dateline NBC is seeking a creative Associate Producer to produce and grow engaging digital content across platforms.
Alumni Profile: Renee Zhan AB '16 (filmmaker)
by Laura Frustaci AB '21
Renee Zhan AB '16 is a Chinese-American director and animator from Houston, Texas. In her films, Renee is primarily interested in exploring topics of identity, obsession, and the inner monster —all things beautiful, ugly, and squishy. She is an alumnus of the Sarabande Foundation, BAFTA crew x BFI Network and Berlinale Talents, and her short films have screened and won awards at festivals internationally, including AFI Fest, Locarno, TIFF, Telluride, SXSW, an Annie Award nomination, BAFTA LA shortlist, and the Jury Prize for Animated Short at the 2019 Sundance Film Festival. She is currently developing her first feature with BBC Film.
As she reflects on the past ten years of her post-grad career, Renee Zhan AB ’16 has a lot to be proud of. She grew up in Texas and was always interested in painting and drawing, but her parents discouraged her from attending an art school for college. So Renee ended up at Harvard, where she found an incredible community of other artists, writers, filmmakers, and animators.
“I wanted to be either a painter or an animator,” Renee says. “I ended up concentrating in VES [Visual and Environmental Studies], as it was called back then.” Her senior thesis, which Renee describes as a huge shock to her parents, was a short film called HOLD ME (CA CAW CA CAW) that screened at SXSW and won the Grand Jury Prize at Slamdance for Best Animated Short. After graduating, Renee received a Postgraduate Traveling Fellowship and moved to Japan.
“I did a two-month hiking trip from Tokyo to Kyoto, and it was the first time I'd ever done anything like that.” Renee recalls. “I ended up making a film about it called RENEEPOPTOSIS, and it's about three Renees who go on a quest to find God, who is also Renee.” That short ended up winning the 2019 Sundance Jury Prize for Best Animated Short.
After all her festival successes, Renee went on to attend the National Film and Television School in the UK for her master’s degree. “I've been experimenting with different mediums of animation, like stop motion, which is big here in the UK, and live action,” Renee notes. Currently, she’s excited about mixed media, particularly live action with pieces of animation throughout. “I like that kind of clunky feel and that handmade thing. I think it's really timeless, in a way.” Renee smiles. “What's great about animation is you can really build your own world, and that, to me, is probably the most exciting part of it. Creating a very unique place. Like, my stop-motion film is about a woman who turns into a black hole. What was exciting about that was imagining what a black hole might look like on the inside, because no one really knows, so we really had a lot of freedom to invent.”
The incredible originality of a film about a woman turning into a black hole is one of so many creative ideas that felt like the story Renee needed to tell at the time she told them. “It really has to be something that feels meaningful to me, worthwhile to me to spend two, three, four, even five years of my life on. And it has to be something where I feel like I can learn something, or improve myself through making the film.” Renee muses. “They are all very personal. Usually they come from a personal experience, or images… I think often the first idea for a film will be an image.”
In terms of marketability, that was never something Renee considered in her early filmmaking days. “Now, I think filmmaking should be something that we can pay our rent from. It shouldn't be something that we do for free. It's not a hobby to me,” she states. “Now, I'm really trying to figure out, how can I make this sustainable? How can I reach an audience? Making films is a way of connecting with people, and a way of sharing something that someone can relate to, or feel comforted by, or feel freaked out by.”
The best compliment she ever got, Renee laughs, was, “this really scathing Letterboxd review where they said, ‘The quality of the live action is way too high for the animation. It looks really bad, and the live action looks great.’ And I was like, ‘That's so nice, because I think the animation looks pretty good, that’s where I’m confident.’” It was the live action piece Renee had been worried about in that film, and clearly, it was well-executed.
Plus, a strong reaction from audience members, whether good or bad, is what inspires Renee at the end of the day. “I really hope that they feel something, whether it's joy, or disgust, or even hatred,” Renee reflects. “I really like reviews that are good or very bad. Either one really tickles me. If someone is unbothered by my work at all, that's the worst thing for me… I hope that people can find something that feels relatable, or funny, or just some kind of connection.”
Thematically, the common thread throughout her films, Renee describes, is “the transition from girlhood to womanhood… What does it mean? And what will it eventually entail?” The other key component to her work is questions or thoughts that are haunting her. “What is it that I can't stop thinking about? What is it that I'm questioning about my own life and trying to figure out?” She says.
This goes hand in hand with the most memorable piece of advice Renee has ever received, from Harvard Visiting Faculty member Athina Tsangari. “She spoke about this much more eloquently than I'm about to, but she said the most important thing is making films about your obsessions, and following that path of what’s bothering you. What is it that's running in circles in your head, and trying to figure that out,” Renee remembers.
In terms of her advice for others, one thing Renee says is not necessarily mandatory is going to film school, although it can be an appealing place to meet collaborators and hone your craft. “I definitely don't think you have to go to film school. What's unique about what we do is that there's not one set path that you follow. There are so many different ways to make films, and so many ways that you can succeed or fail… The best thing about film school is that you meet people who think the same way as you, and who you probably will end up working with for the rest of your life.”
The second piece of advice Renee has about the industry is her emphasis on being true to oneself in the artmaking process. As a self-defined “weird” creative, Renee explains, “To me, being weird means being yourself, making things that feel true to you, and if it feels true enough to you, then it will inevitably be different than what feels true to everyone else. So then it will be weird, it will be different, it'll be unique. There was definitely a time in my life, especially at film school, when being weird was a negative thing.” So now, Renee is trying to rewrite that narrative against “weird” and reinforce the importance of how it belongs in the film industry.
As for her favorite films, growing up, she and her dad used to watch THE SOUND OF MUSIC frequently because it was always playing on cable, and that holds a special place in her heart. In terms of animation, when asked her favorite, “Studio Ghibli,” Renee immediately laughs. “It's a boring, obvious answer, but it's also the right answer.”
Moving forward, Renee is hoping to continue on in horror, where she is right now, and then return to make content for younger audiences. “I've been thinking recently about how the reason I love THE SOUND OF MUSIC is because I watched it when I was so young, and I've been thinking a lot about how important films for kids are, because the stuff that we watch when we're young, it's so powerful. It really stays with you…. and I'd like to circle back around and make something that is meaningful for all audiences.” What might this look like in an ideal world? “If everything I made could be a musical, that'd be amazing,” Renee grins. “I can't wait to make my next musical. With every project that I start, I ask myself at some point, ‘Should this be a musical?’ So far, the answer is no, but I have another musical idea planned.” So, musically inclined audiences, stay tuned for more!
Industry News
David Alpert AB ’99, executive producer of the adult-animated series INVINCIBLE through his company Skybound Entertainment, is gearing up for Season 4 of the hit Amazon Prime Video series — set to premiere in March 2026. (Deadline)
Alfredo Barrios Jr. AB ’90 JD ’93, whose film BULL RUN starring Tom Blyth has been acquired by Vertical Entertainment for a November release, is making a bold statement with this high-finance comedy set inside an elite investment bank. (The Hollywood Reporter)
Ron Bass JD ’67, Academy Award-winning screenwriter and producer of RAIN MAN, is attached to the production for the Ashley Judd film 21 DOWN. (Deadline)
Josh Brener AB ’07 guest-stars in the upcoming HBO comedy series I LOVE LA, created by and starring Rachel Sennott, which premieres on November 2, 2025. (Deadline)
Marty Bowen AB ’88 has joined the production team for the film CRUSH, after a spec sale by John Fischer to 20th Century Studios. (Deadline)
Nestor Carbonell AB ’90 has been cast in the upcoming series PEDRO & PAN, joining the ensemble opposite Paz Vega and Andy García. (Deadline)
Damien Chazelle AB’07 is developing his next film, a prison-set drama with Cillian Murphy and Daniel Craig attached, while his longtime collaborator Justin Hurwitz AB ’08 has begun composing the score, calling the screenplay “the best I’ve ever read.” (World of Reel)
Jack Cutmore-Scott AB ’10 has joined the cast of Netflix’s limited series THE AGE OF INNOCENCE, an adaptation of Edith Wharton’s classic novel. (The Hollywood Reporter)
Rodrigo García AB ’82—a Colombian-born filmmaker who graduated from the American Film Institute (AFI)—recently premiered his new film LAS LOCURAS at the 23rd Morelia International Film Festival (FICM).
Yo-Yo Ma AB ’76 has taken his cello outdoors as part of his new podcast OUR COMMON NATURE (via WNYC Studios), exploring how music connects people to the natural world. (NPR)
Radial Entertainment has struck a deal for the U.S. distribution rights to Conan O’Brien AB ’85’s long-running TBS late-night talk show. The agreement gives Radial exclusive rights across multiple digital platforms — including subscription and ad-supported streaming, transactional video, and digital networks — for all 11 seasons of “Conan,” which aired from 2010 to 2021. (Variety)
Nicholas Stoller AB ’98 has partnered with writer-producer Dana Fox on a scripted series adaptation of the board game CLUE, which has entered the TV marketplace via Sony Pictures Television and Hasbro Entertainment. (Deadline)
Dustin Thomason’s AB ’98 executive-produced Apple TV+ series PRESUMED INNOCENT has been renewed for a second season, which adds Fiona Shaw as a series regular. (Deadline)
Welcome New Members
Harvardwood warmly welcomes all members who joined the organization or renewed their membership last month:
Ken Liu
Ebun Uguntola
Madison Chueka
Sammy D
Malaika Sequeira
Michael Kim
Exclusive Q&A with Kim Onah AB '15 (actor)
Kim Onah, hailing from Staten Island, NY, is an actress, writer, and singer currently based in New York City. She graduated from Harvard University with an AB in English and Music. Despite her parents’ best efforts to persuade her, Kim still isn’t getting a Computer Science degree or pursuing a traditional career.
Kim began singing at the young age of 8 years old. She studied voice and piano at the Staten Island Conservatory of Music until she moved to Cambridge, MA for college in 2011. During her time at Harvard, Kim sang in and arranged for an a cappella group, The Harvard Callbacks. She also performed work with Oberon @ ART, Loeb Drama Center (Mainstage & Experimental Theater), Farkas Studio, Adams Pool Theater, Calderwood Pavilion in Boston, and the Umbrella Theater in Concord, MA.
Favorite credits include: & JULIET (Broadway), BEAUTIFUL (Tour Company), AIDA (as Aida), GUYS AND DOLLS(as Sarah Brown), ALL SHOOK UP (as Lorraine).
Kim's interests outside of music and theater include writing, traveling, eating, and spinning.
Q: What first drew you to performing — was there a moment in childhood when you knew this was what you wanted to do?
Growing up in New York, I had direct access to an incredible variety of art forms. I was especially drawn to musical theater—I started singing from a young age, and definitely had a flair for the dramatic. Everything changed when my parents took me to my first Broadway musical. I was hooked. I vividly remember seeing AIDA, with Heather Headley, Adam Pascal, and Sherie Rene Scott. That experience lit a fire in me. It was one of those formative moments when I knew—I wanted to be an artist.
Q: How did your time studying English and Music at Harvard shape your voice as a performer and writer?
Studying English, I gravitated toward Literature by Black authors. I remember reading Cane by Jean Toomer and feeling like a piece of my soul had been unlocked. That focus deeply shaped how I see the world and the kinds of stories that move me. It gave me language for experiences I had lived but hadn’t fully understood, and helped me identify the kind of work that fulfills me both artistically and personally. At the same time, my musical studies grounded me in both theory and performance, and pushed me to think critically about sound and expression. Together, my English and music studies at Harvard helped me find storytelling that is emotionally rich, culturally resonant, and rooted in intellect and soul.
Q: What was it like joining the tour company of BEAUTIFUL, and how did the experience of performing on the road shape your craft? How is a tour different from a performance experience in one theater?
I actually never made it on the road with BEAUTIFUL—I rehearsed for a couple weeks in New York and then the world shut down due to COVID the day before I was set to fly out and meet the cast. It was incredibly humbling. Everything I had worked so hard for was suddenly paused, indefinitely. As a freelancer, you know instability comes with the territory, but nothing truly prepares you for that kind of disappointment. That moment forced me to confront why I chose this path in the first place. But in that stillness and reflection, I reconnected with the parts of this work that have nothing to do with external validation—the craft, the community, and the joy of storytelling. It reminded me that this journey isn’t linear, and while setbacks can be painful, they also stretch you in ways you never imagined.
Q: You’ve played several iconic roles like Aida in AIDA and Sarah Brown in GUYS AND DOLLS. How do you make classic characters like those feel fresh, modern, and authentic to you?
For me, one of the core challenges—and joys—of acting is bringing your whole self to every role. It’s easier when you relate closely to a character, but even when I don’t, I believe the human experience is fundamentally shared. We all feel pain. We all seek joy, connection, and purpose. So when I approach a character who feels distant or from another era, I start by identifying their most basic desires and motivations. Then I connect those to my own as a woman in 2025. That’s where the character becomes personal, honest, and real for me.
Q: What was your favorite part about performing in & JULIET on Broadway? Any standout memories from your time with that company?
& JULIET was my Broadway debut, so the entire experience was incredibly meaningful — but my debut performance as Juliet is hands down my favorite memory. I had been brought in as a temporary replacement, hired to play Lady Capulet every night and to understudy Juliet. I began learning both tracks in a rehearsal room with just the associate director (Harvard alum Susanna Wolk AB '14), the associate music director (Harvard alum Haley Bennett AB '13), and the associate choreographer. After two weeks of rehearsal, on an evening off, I was heading to see the Broadway revival of SWEENEY TODD when I got a call from the stage manager. In the calmest voice, he asked, “Do you feel up to making your Broadway debut as Juliet tonight? Both of our Juliets are out sick.” For a second, I thought he was joking. He wasn’t. I said yes. I jumped on the train, texted my best friend, my family, and my partner, and sprinted to the theater. We held the show for 45 minutes so I could be fitted into costumes for the first time, run a few of the big production numbers with the full cast (also for the first time), and meet my scene partners—yes, for the first time. I think I blacked out for most of it, but I remember the overwhelming sense of joy and pride I felt knowing that I had helped make sure the show went on. It was terrifying and electrifying and completely unforgettable—a true trial by fire, and the most thrilling welcome to Broadway I could’ve imagined.
Q: You mentioned outside of performing, you like writing. What types of stories are you most passionate about as a storyteller? Do you see your writing intersecting with your performance work in the future?
I’ve always seen writing and performance as deeply connected forms of expression. Writing, for me, is both a creative outlet and a form of therapy. I tend to write from personal experience—not just to document it, but to be in conversation with it. It’s a way of working through my emotions, questions, traumas that I may not otherwise be able to fully unpack. That reflective process often leads me to stories that are emotionally honest, and resonant. Therefore I’m really interested in creating work, whether for theater, film, or hybrid forms, that’s rooted in lived experience. And yes, I definitely see my writing intersecting with my performance in the future. In fact, my friends and I always joke that the dream is to write something and star in it together—and honestly, that dream feels more and more real as I continue creating. I’m excited by the idea of developing original work and being the one to also bring it to life on stage or screen.
Q: What have you learned about resilience from being in such a competitive and unpredictable industry?
I’ve learned a lot about resilience through this industry—mostly that it’s not just about pushing through, but about learning how to hold yourself with care in the face of uncertainty. One of the hardest lessons came early on, when my first national tour was canceled due to COVID just before I was set to join. It was devastating, not just because of the lost opportunity, but because it felt like something I had worked hard for had just been lost. Since then, I’ve faced countless rejections, moments of deep self-doubt, and times when I felt completely powerless. But through it all, I’ve started to learn how to center myself. I’ve learned to create the structure I need—to build routines, boundaries, and creative practices that keep me grounded. I’ve also learned to create the opportunities I want to see in my career instead of waiting for someone to hand them to me. One of the biggest lessons I’m still working on is letting go of the need for external validation. It’s so easy to measure your worth by other people’s “yes” or “no,” but I’ve found strength in the moments when I remind myself that I am enough, regardless of the outcome.
Q: What’s a role or project you’re dreaming of tackling next, whether on stage, screen, or in your writing?
I’ve been working on a short film that’s really close to my heart. It’s a coming-of-age story about a young Black girl navigating her relationships and identity within a predominantly white elementary school. It explores themes of belonging, code-switching, and the quiet, formative moments that shape how we see ourselves. It’s a deeply personal piece, which has made it both challenging and a little scary to share—but I’m reaching a place where I’m ready to let it live beyond the page. My goal over the next year is to continue developing it and move toward actually filming it. It’s my way of reclaiming narrative space and telling the kind of story I wish I had seen growing up. On the performance side, I’m really drawn to new, developmental work. I’m at a point in my career where the idea of originating a role—helping shape a character from the ground up—feels especially meaningful. There’s something so collaborative about being part of a project in its early stages, and I find it creatively fulfilling to help bring new voices and stories into the world. Whether it’s a new play, musical, or TV/film project, I’m eager to be part of work that feels fresh, urgent, and reflective of the world we live in today.
Q: How has your identity and background influenced the types of roles you pursue or stories you want to be part of?
My identity as a black woman deeply shapes the kinds of roles I pursue and the stories I want to help tell. Growing up, I rarely saw myself fully reflected in stories on screen or on stage—especially in ways that captured the nuance, softness, or complexity of black girlhood and womanhood. That absence made me crave characters and narratives that center us not just in struggle but in joy, vulnerability, curiosity, and growth. Because of that, I’m drawn to roles that reflect real emotional lives—stories that feel grounded in truth rather than dated stereotypes. I want to be part of work that invites people into a deeper understanding of lived experiences that might not be their own, and that affirms those who do see themselves reflected. One of my favorite Broadway shows this year was PURPOSE by Branden Jacobs-Jenkins because it did exactly that. It felt like watching a piece of myself and my community on stage, which was really special.
Q: What’s a piece of advice a mentor gave you when you first started in the industry that has stayed with you?
One piece of advice a mentor gave me early on that has really stayed with me is: “What is for you, is for you. And what is for someone else, is for someone else.” It sounds simple, almost obvious—but in an industry that’s so full of comparison, rejection, and uncertainty, it’s been a lifeline. It’s helped me stay grounded through every “no,” every close call, and every moment of doubt. It reminds me that missing out on one opportunity doesn’t take away from what’s meant for me down the line. That mindset has truly allowed me to celebrate others’ successes more readily, move through rejection with grace, and keep showing up with a sense of purpose rather than pressure!
Financing A Documentary (Virtual)
Wednesday 11/05
Funding a documentary? In this 2025 economy? In this candid conversation, filmmakers and producers will spill their secrets behind raising money and producing a nonfiction documentary film. They'll share insider anecdotes and unexpected tips; it’s the money talk every doc-maker needs to hear.
Harvardwood invites you to a Zoom conversation with Peter Jones (Emmy and Peabody Award-winning director/producer), John Bard Manulis AB '78 (Producer), and Taylor Vracin-Harrell (Producer) to discuss their upcoming documentary FORTUNATE SONS and the film financing process.
November Harvardwood Creative Salon (Virtual)
Friday 11/07
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.
In order to register to show your work, please RSVP below and email admin@harvardwood.org with a blurb about your piece. Time slots will be offered on a first come, first serve basis.
In order to attend as an observer, please RSVP below.
Harvardwood Writers Program Info Session (with snacks)! (Cambridge)
Thursday 11/13
Current students, come meet and munch with the Harvardwood Boston Writers Program heads to hear more about the application process to workshop your pilot or feature next semester!
Harvardwood Artist Launch and Harvardwood Emerging Visual Artist Fellowship Info Session (Virtual)
Friday 11/14
Come to this session to learn about Harvardwood’s two post-graduate Arts & Entertainment fellowship opportunities for graduating seniors or recent alumni:
The 2026-2027 Mia and David Alpert Harvardwood Artist Launch Fellowship is a $24,000 per-artist grant for graduating seniors or recent Harvard alumni working or seeking to work in the arts, media, and entertainment fields. Learn more and apply.
The 2026-2027 Harvardwood Emerging Visual Artist Fellowship is a $24,000 grant to an emerging visual artist to help them pursue their creative projects over the course of a year. Learn more and apply.
Harvardwood Lowdown (Virtual)
Monday 11/17
Join Harvardwood for another Harvardwood Lowdown! This informal conversation is hosted by members of our leadership team including Co-Founder Mia Riverton Alpert AB '99, Vice President Ken Williams AB '78 (CEO of the USC Entertainment Technology Center), and former President Allison Kiessling EDM '05 (writer-producer)!
LA Harvardwood Holiday Party 2025 (LA)
Sunday 12/07
You're invited to Harvardwood's Annual LA Holiday Party! Join us for a wonderful, willful, wintery fest for mingling, mixing, and much holiday cheer. We hope to see you for another exciting event at the St. Felix Hollywood.
Last Month at Harvardwood
Last Month at Harvardwood, we held the Harvardwood FWI Pitch Fest, talked Comedy in TV and Books with Aisha Muharrar AB '06, spoke with Ken Liu AB '98 about Stories and Machines, attended an Ivy Halloween Party, 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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