Harvardwood HIGHLIGHTS - October 2025

In this issue:

MESSAGE FROM HARVARDWOOD 

NEWS

• 2025-26 Jonathan Sethna Harvardwood LGBTQ+ Fellowship Winner

• Harvardwood 101 applications are open!

• Featured Job: Project Coordinator, NBC Creative Marketing

FEATURES

• Harvardwood Profile: Ken Liu AB '98 JD '04 (author)

• Industry News

• Welcome New Members

• Exclusive Q&A with Billy Shebar AB '79 (producer, director)

CALENDAR & NOTES

• Talking Comedy in TV and Books: Aisha Muharrar's Debut Novel (Virtual)

• Harvardwood Creative Salon: Works In Progress (Virtual)

• Storytelling in the Age of Machines: Inside Ken Liu’s New Book Series (Virtual)

• Last Month at Harvardwood

  
  

Become a Harvardwood member

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

It smells like fall, and I am ready for my life to rip off a NYC-based character comedy about growing up and friendship! Do-do-do-do-do-do-do-do-do clap clap clap etcetera theme song play me in...

Wow, long theme song. Anyways, hooray for 2025-26 Jonathan Sethna Harvardwood LGBTQ+ Fellowship Winner Thomas Allen Harris! Hope he can teach those Yalies a thing or two about a thing or two... But since we're all city slickin', no-good Harvard fellas 'round here, check out the new Harvardwood 101 application!

Events! Hot off the event making page of the website, get ya events here! We're talking existential sci-fi books, we're talking Creative Salons, we're Talking Comedy in TV and Books: Aisha Muharrar's Debut Novel! My mom's already ordered Ken Liu's New Book Series, and I'm, like, at least 5th in line to read it.

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.

Please consider donating to Harvardwood. Your donations are tax deductible!

Best wishes,

Grace Shi

Operations and Communications

grace@harvardwood.org

2025-26 Jonathan Sethna Harvardwood LGBTQ+ Fellowship Winner

Harvardwood is thrilled to announce the winner of this year's Jonathan Sethna Harvardwood LGBTQ+ Fellowship for projects that elevate LGBTQ+ characters, themes, and stories by creatives and screenwriters who are Harvard University alumni.

Thomas Allen Harris is an interdisciplinary artist, filmmaker, and curator with a background in community organizing within a socially engaged film/art practice. Throughout his work, he has remixed archives, challenging hierarchy within historical narratives, and has developed pioneering documentary and research methodologies that center vernacular image and co-creation. His participatory practice grew out of deeply collaborative work he engaged in early in his career with a vanguard of queer filmmakers of color.

Harris’ acclaimed, deeply personal films, VINTAGE: FAMILIES OF VALUE (1995), É MINHA CARA/THAT’S MY FACE (2001), TWELVE DISCIPLES OF NELSON MANDELA (2005), AND THROUGH A LENS DARKLY (2014), have been internationally broadcast and premiered at international film/art festivals such as Sundance, Berlin, Toronto, Tribeca, FESPACO, Outfest, Flaherty, Cape Town, and Melbourne Art. His awards include an NAACP Image Award, an Africa Movie Academy Award, a Guggenheim Fellowship, a National Science Foundation grant, an Independent Spirit Award nomination, as well as Emmy and Peabody nominations.

His journey in the sciences, as well as his experience as a biology graduate of Harvard College, inform his upcoming documentary film, MY MOM, THE SCIENTIST, and its national outreach campaign, SCIENTISTS IN THE FAMILY.

A Professor in the Practice at Yale University, Harris currently teaches non-fiction film theory and production classes based on his research methodologies and continues to serve as a formal and informal mentor for Queer|Art|Film.

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Harvardwood 101 applications are open!

Calling all undergrads! Curious about a career in entertainment? Join us in Los Angeles this January for Harvardwood 101, our annual career exploration program that demystifies Hollywood and connects students with alumni in the industry.

During Boot Camp Week (January 5 - 10, 2026), you'll hear directly from industry insiders, attend interactive panels, and meet Harvard alumni at top companies like Amazon, HBO/Max, UTA, and more. You can also apply for a Winternship (Jan 12–23) to gain behind-the-scenes experience through informal positions at entertainment companies or with individual industry professionals.

Applications close October 20 at 11:59pm ET.

APPLY HERE

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Featured Job: Project Coordinator, NBC Creative Marketing

Job Description:

The Project Coordinator is responsible for supporting the 360 Project Management Marketing Team in the planning, development, execution, and delivery of Marketing Assets used to market the brands and shows of NBC Entertainment on multiple platforms, including but not limited to: paid advertising, promotion, organic and paid social media, OOO, and linear and digital distribution platforms (Peacock, Press, Affiliate Marketing, NBC app, VOD, Hulu, Roku, Apple TV, etc.). This will be in addition to financial and legal responsibilities associated with the projects. The ideal candidate will be a creative, motivated self-starter with an entrepreneurial spirit, winning attitude, appreciation for data, and a solutions-oriented approach.

APPLY HERE

Alumni Profile: Ken Liu AB '98 JD '04 (author)

by Laura Frustaci AB '21

Ken Liu AB '98 JD '04 is an American author of speculative fiction. A winner of the Nebula, Hugo, and World Fantasy awards, he wrote THE DANDELION DYNASTY, a silkpunk epic fantasy series, as well as short story collections THE PAPER MENAGERIE AND OTHER STORIES and THE HIDDEN GIRL AND OTHER STORIES. His latest book is ALL THAT WE SEE OR SEEM, a techno-thriller starring an AI-whispering hacker who saves the world. Prior to becoming a full-time writer, Liu worked as a software engineer, corporate lawyer, and litigation consultant. Liu frequently speaks on a variety of topics, including futurism, machine-augmented creativity, history of technology, bookmaking, and the mathematics of origami.

Join us for an Oct. 20 event with Ken here!

Although he’s had a long and successful career as both a software engineer and a litigator, Ken Liu AB '98, JD '04 has always been compelled back to his first love: literature. Graduating from Harvard with a degree in English, he snagged a job at Microsoft his first year out of college. This led to running a startup with his friends, which then led to law school, followed by corporate law, and ultimately some years spent as a litigation consultant (meaning, he served as an expert witness in patent cases). However, all that is happily behind Ken now. Five years ago, he made the jump to a full-time writing career. Ken’s newest novel, out on October 14, is titled ALL THAT WE SEE OR SEEM. It’s the first in a series starring his new protagonist, Julia Z. 

“I really enjoy talking to technologists, hearing their stories, and trying to speculate in a responsible way,” Ken smiles. “My hope is to offer readers some insight into other ways of thinking about AI. I think a lot of the persistent debates in the media about AI are very clichéd, and in some ways, not as interesting. I'm not saying these things are not important. The economic impact of AI, the way that jobs and livelihoods are being threatened, I think these are real issues, and they are not to be dismissed. But I also think that if we only focus on those issues, we miss other issues that are just as important, if not more so, in the long term.”

Instead, Ken’s aim with this new series is to “draw out some of the implications for the long-term impact of AI.” He’s asking questions of himself and of his audience, such as, “What does it mean when human participation becomes both commoditized and more valuable, simply because it's so rare? What does human participation in that context mean? How do we find meaning in a world where machine-generated images and videos and deepfakes are pervasive? How do we actually maintain our humanity?” and finally, “How do we maintain that sense of connection?” As a self-described technologist, Ken knows this fascination comes across in his work. “I think of technology as the human mind made tangible.” He expounds, “I don't view technology as something alienated from our nature. Instead, I view technology as a lens that expresses our human nature. A lot of my fiction is premised on that.”

ALL THAT WE SEE OR SEEM is no exception to this framework. It’s a “sci-fi thriller meditating on all the ways in which humans use AI to be more and less human.” Ken notes that he’s not trying to pick a side in the novel, not looking to come across as pro-AI or anti-AI. He’s merely documenting observances: “Some people use AI as a way to treat other humans with more care and more empathy. Other people use AI as a way to reduce other humans to machines. Both are possible and present… My point, if there is one, is simply to sort of sketch out all the ways that I think this can happen, and meditate on the ways that we can think about this new technology: How do we express our humanity through it, and how do we prevent it from becoming a tool that some people use to reduce others to mirror a machine?”

The main character in the series is a hacker named Julia Z. Ken explains that it took a long time to figure out who Julia Z was: “The stories find me, rather than the other way around.” It took years to record Julia’s story, and these were the years of the pandemic. “I've always been a very optimistic person in terms of the power of stories to bring people together, but the pandemic was very challenging… powerful, paranoid, conspiracy-oriented collective stories really took over the world in a lot of ways. They became the things that drove the way we related to each other. And I was terrified, and very disappointed by the way humans were behaving.” Ken turned to the foundational text of Taoism, the DAO DE JING (which notable sci-fi writer Ursula K. Le Guin, from whom Ken has taken inspiration throughout his career as a writer, translated almost 20 years ago). In this exploration of such a peaceful, wise, and inspiring text, Julia Z came to him.

Memorably, Julia Z first told Ken one day that he was “worried about the wrong things.” But it took him a long time to finally figure out what she really meant by that. Everything came slowly, in very cryptic pieces, true to her character in the novel. Julia Z is surly, impatient, and mysterious, and she was like that even as Ken was recording her story. “You think you're in charge of the story, but you're really not,” Ken smiles. What surprised Ken most about Julia in the writing process was the way she took dreams very seriously. He says, “Historically, dreams are such a big part of how we understand the world and ourselves… but in the modern age, it's very different. We're dismissing dreams as entirely irrelevant… So much so that we've stopped daydreaming.” 

Ken laments that when waiting in line or for a train, people stare at their phones, rather than allow themselves to be bored and to daydream. “I think the lack of opportunity for daydreaming is deeply worrisome, because I feel like those are the moments where we actually become human. Those are the moments where we practice and actually enact our deepest psychic realities. Those are the moments we delve into the collective unconscious and find a sense of connection with spirituality, with religion, with all the things that make us human. It's all that we see or seem, right?”

The title of the novel itself comes from an Edgar Allan Poe poem. “It just struck me as such an appropriate, beautiful term,” Ken explains. “‘All that we see or seem’ works only as a matter of dream logic. It's linguistically nonsense… It is about that space, about dream country, where we discover the truth.” This blending of dream and reality is demonstrative of how Ken thinks about genre across all his work. “I enjoy genre, but I don't enjoy debates about genre boundaries… I like the ways that genres open up different ways of telling stories, but I don't really think explicitly in terms of genre,” he says. Ken references Le Guin again, inspired by her idea that telling a story comes from the inside, not from what’s around you. “You journey into the collective unconscious, and you find the story there… And then you have to take that dream back into the real world, and then figure out how to tell that story. So, Le Guin says that artists who work with words are basically people who try to say with words what cannot be said… And I think that's very potent. I think that's very much what we do,” Ken emphasizes. “We try to say with words what cannot be said in words. And so sometimes symbolism makes sense if you express it via magic. Sometimes it makes more sense to express it via historical reimagination. Sometimes it makes more sense to speak in terms of technology metaphors… But ultimately, what I'm really trying to do here is to bring forth the dream I found in the collective unconscious.” 

Ken concludes with the idea that, “This moment we’re living through suggests a radical, strange re-evaluation of what it means to have intelligence. To what extent are our intelligences actually inside our brains, and to what extent are they really embedded in the entirety of the linguistic output of the human species that we've tapped into?” And that’s what he aims to explore in ALL THAT WE SEE OR SEEM, which will be released this month. 

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Industry News

Paris Barclay AB ’79, the Emmy-winning director-producer behind series like DAHMER and LOST, has signed with Innovative Artists Entertainment for literary representation. (IMDB) 

Marty Bowen AB ’94, producer of THE FAULT IN OUR STARS and THE TWILIGHT SAGA, brings Emily Henry’s bestselling novel to screen with Netflix’s PEOPLE WE MEET ON VACATION. Starring Lucien Laviscount and Lucy Hale, the film follows two best friends whose annual trips spark unexpected romance, with the first look now revealed ahead of its 2025 premiere. (Screen Rant)

Robert Carlock AB ’95, the Emmy-winning co-creator of 30 ROCK and UNBREAKABLE KIMMY SCHMIDT, produces CRUTCH / THE NEIGHBORHOOD CROSSOVER, reuniting Tracy Morgan with his comic edge in a fresh, boundary-pushing TV event. (Hollywood Reporter)

Terence Carter AB ’01, Co-President & Head of Television at Westbrook Studios, serves as executive producer on BEL-AIR as it enters its fourth and final season on Peacock. (Deadline)

Albert Cheng MBA ’97 will now lead Amazon’s U.S. AI efforts in addition to his role overseeing Amazon Video—a pivotal move as the company deepens its commitment to generative AI and streaming. (Deadline) 

Carlton Cuse AB ’81, acclaimed showrunner of LOST and JACK RYAN, brings Dan Brown’s Robert Langdon back to our screens with THE SECRET OF SECRETS. The high-stakes thriller series will explore hidden lore, global intrigue, and moral peril as Langdon races against time—now co-created and executive produced by Brown and Cuse. (The Business Standard)

Michael Friedman JD ’15, producer of YELLOWSTONE, 1923, 1883, and THOSE WHO WISH ME DEAD, produces Y: MARSHALS, the upcoming spin-off that expands the Dutton universe through a new U.S. Marshals crime procedural. (Deadline)

Congratulations to Abigail Hing Wen AB ’99, whose debut middle grade novel THE VALE launched as an instant New York Times bestseller! Also, from the People first-look piece: THE VALE—ORIGINS, is a short film prequel to the book starring Lea Salonga. (People) (Amazon) (NYT)

Abigail Hing Wen AB ’99 discusses her work on the premiere episode of the new STORIES WITHOUT BORDERS podcast from Hollyn Alpert, now available on all podcast platforms and YouTube. A bonus episode with Abigail was recorded at a special Harvardwood event at Annabelle's Book Club and will drop on Oct. 5.

Peter Lawson Jones AB ’75, JD ’80, lends heartfelt depth to LAST SHOP ON WALNUT—a powerful drama about family, community, and the fight to hold onto what matters most. (Deadline)

John Lesher AB ’98, the Oscar-winning producer of BIRDMAN, is producing A24’s upcoming thriller CIRCLING AIRMAN. Starring Ben Stiller and Jeremy Allen White, the film continues Lesher’s track record of backing bold, character-driven stories with top-tier talent. (Hollywood Reporter)

John Lithgow AB ’67 joins Olivia Colman in JIMPA, a new film already securing distribution across the U.K., Ireland, and North America. (Screen Daily)

Dan Lin MBA ’99, the producer behind SHERLOCK HOLMES and IT, executive produces IT: WELCOME TO DERRY—the chilling new HBO Max chapter that expands the mythology of King’s universe with fresh terrors and hidden secrets in every shadow. (Deadline)

David Madden AB ’76, as executive producer for Wattpad Webtoon Studios, backs two upcoming YA romantic comedies—HOW TO LOSE A POPULARITY CONTEST and KISSING IS THE EASY PART—which Blue Fox Entertainment recently acquired for international sales, with premieres on Tubi. (Deadline)

Aisha Muharrar AB ’06, TV veteran (PARKS AND RECREATION, HACKS, THE GOOD PLACE), publishes her debut novel, LOVED ONE, a nuanced exploration of grief and ambiguous relationships featured as NPR’s Book of the Day. (NPR)

Julia Riew AB ’22, inaugural Harvardwood Artist Launch Fellow, continues to bring Korean stories to life on the page and the stage, as explained in a recent interview with HARVARD MAGAZINE. (Harvard Magazine)

From the fiery heart of Mexico to the high-stakes boardrooms of Manhattan, an empire built on tequila becomes the battlefield for a blistering war of power, betrayal, and forbidden love in Tim Reuben AB ’77 JD ’80’s explosive debut thriller novel, TEQUILA: A Story of Success, Love, and Violence, which will be released on October 14th. (Barnes & Noble)

Bashir Salahuddin AB ’98, co-creator of SOUTH SIDE and SHERMAN’S SHOWCASE, produces Starz’s upcoming comedy BOOK OF MARLON, joining Marlon Wayans on the semi-autobiographical series that mixes sharp humor with heartfelt storytelling. (The Wrap)

Steven Schneider AB ’96, known for producing hits like GET OUT and US, is producing ANYTHING BUT GHOSTS, a new horror film from director Curry Barker. (Hollywood Reporter)

Ed Zwick AB ’74 sets his sights on the American frontier with THE CREED OF VIOLENCE—a gripping new western that promises moral complexity, sweeping landscapes, and visceral stakes in a world where justice is carved by the gun. (MSN)

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Welcome New Members

Harvardwood warmly welcomes all members who joined the organization or renewed their membership last month:

• Sierra Mckie

• Sofie Mahlkvist

• Jamil Shamasdin

• Candace Williams

• Sylvia Baedorf Kassis

• Zach Brazao

• Jason Cheng

• Max Bartolomea

• Eli Zuzovsky

• Freya Haworth

• Aliya Jasmine Bradwell

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Exclusive Q&A with Billy Shebar AB '79 (producer, director)

Billy Shebar AB '79 is an Emmy-nominated filmmaker whose feature documentary MONK IN PIECES  was an official selection and Teddy Award nominee at the 2025 Berlinale, and was recently released by Zeitgeist Films and Kino Lorber. He is also known for HIGH NOON ON THE WATERFRONT, with voiceovers by John Turturro and Edward Norton, which premiered at the Telluride Film Festival and was broadcast on Turner Classic Movies and HBO; and DARK MATTER (2007), starring Meryl Streep, which won the Alfred P. Sloan Prize at Sundance. Billy collaborated with animator Bill Plympton on the NEW YORK TIMES viral web series TRUMP BITES  (2018-2020) and with animator Yoni Goodman on the three-part crime series DOCTOR'S ORDERS (2021), which continues to stream on Max, Hulu, Amazon, and other platforms. 

Q: Congratulations on the recent release of MONK IN PIECES. You’ve structured the work as a mosaic, rather than a traditional biopic. What drew you to that form, and how does it reflect Meredith’s artistic voice?

Like Meredith, I like experimenting with form, and I appreciate films that use nonlinear storytelling. 32 SHORT FILMS ABOUT GLENN GOULD was one that really stuck with me when I was starting out as a filmmaker. Meredith’s own work in film and theater takes what she would call a mosaic approach, and that’s what I’ve done with this film. Each piece is anchored by a different Monk composition, and offers a unique window into her life and work. What emerges is the story of an uncompromising artist, battling to keep her vision alive. 

Q: Meredith has been quite prolific over her 60+ year career as a composer and interdisciplinary artist. How did you select which works to highlight? 

The beauty of the mosaic approach is that I had the freedom to pick the music and visual material that I found most compelling and then look for interesting ways to combine them. And if you work on it long enough, experimenting with the order of the pieces, certain themes and throughlines begin to emerge organically from the material. The challenge of the mosaic approach is to keep it engaging without the crutch of a linear narrative. Finding that nonlinear engine was a wonderful process of discovery with my editor, Sabine Krayenbühl. 

Q: How did you balance archival material with present-day footage to create a portrait that feels both intimate and historically rich?

When I started working with Sabine, I had already filmed several scenes of Meredith alone in the Tribeca loft where she’s lived and worked since 1972, going about her daily rituals: making coffee, watering her plants, working at her piano. Sabine encouraged me to film more of these intimate moments, so that we could thread them throughout the film as quiet, meditative pauses between the highly kinetic archival performances. 

Q: Was there a particular moment (either within the research process or during filming) that revealed something new to you about Monk’s creative process?

My wife Katie Geissinger AB '80 has been working with Meredith for over thirty years, so I’ve witnessed many rehearsals and seen all of her productions. What I find extraordinary about her creative process is the fact that it is deeply collaborative. She doesn’t arrive with a score or any fixed ideas. Her work is created in rehearsal for a particular set of performers, using their particular talents for music, movement, and acting. A written score is superfluous, because each work is recorded in the bodies and voices of her performers. So for her, the score is an afterthought, an imperfect way of rendering the music on paper. 

Q: The film raises the question of artistic legacy. How do you think Monk’s work can or should be carried forward by others?

That’s the conundrum she’s wrestling with now. For 60 years, she’s not only directed but performed in all of her music theater works, and with an ensemble who created the works alongside her and have it in their bones. There’s a scene near the end of the film where she is warily entrusting her masterpiece, ATLAS, to director Yuval Sharon and singer Joanna Lynn-Jacobs for a new production at the LA Phil. These are incredible artists with the deepest respect for Meredith’s work, but it’s still so hard for her to let go. I believe she’s going to appoint what she calls “guardians” of her work and legacy, who can be on hand to work with other artists and organizations who want to perform her work in the future. 

Q: Björk and David Byrne speak beautifully in the film about Monk’s influence. What surprised you about their insights or the way they connected with her work?

I had no idea that Björk was so deeply influenced by Meredith’s work, which she discovered at the age of 16, when she was a punk rocker in Reykjavik. And then to discover Björk’s gorgeous renditions of Meredith’s “Gotham Lullaby”—one performed at a concert on September 11, 2001—was very powerful. I was also surprised to learn that David Byrne discovered her work in the mid-’70s when he first came to New York, and later hired her to create music and choreography for a scene in his 1986 film TRUE STORIES.

Q: How did your personal proximity to Monk and her circle shape or influence your responsibility as a documentarian?

Making a documentary about a living artist is perilous enough, but when the artist is someone as close as Meredith is to Katie and me, it’s almost impossible. But we pulled it off—mainly because Meredith was generous enough to give me editorial independence. There were of course ground rules that we negotiated in terms of what we could film, and what personal photos and writings we could use from the archive. But she did not review any cuts of the film before it was done. I showed her the finished film a few weeks before the world premiere at the Berlinale in February. I think she was in shock for a while after the screening—who wouldn’t be, after seeing someone else’s interpretation of her life’s work—but she’s been incredibly supportive of the film’s release. 

Q: What challenges or unexpected discoveries arose throughout the filming process?

While filming, I realized that our mothers were both singers on live radio in the 40s and 50s, performing popular songs and commercial jingles. Both (not surprisingly) had a tough time balancing their careers with motherhood, and that left a certain psychological legacy—both good and bad—that we both shared. So I was intrigued to see how that played out in Meredith’s career, and how it ultimately gave her the drive and fortitude to forge her own stunningly original path in the performing arts.

Q: What do you hope MONK IN PIECES  offers to people unfamiliar with her work—and what do you hope it preserves for those who already love her?

My sense is that most people come to screenings without knowing anything about Meredith or her work. My hope is that the film opens a door and allows them to experience it for themselves—especially her music, which permeates the film. One truly gratifying moment came after a screening in Lisbon, which I attended with Katie (whose voice is heard throughout the film). A young singer walked up to Katie and told her, “My life is now divided in two: before seeing this film and after.” 

For people who are already familiar with her work, there will be plenty of new music and visual material that they will have never seen or heard, and I know this because we found things that even Meredith didn’t know existed! I hope they’ll also be inspired by Meredith’s personal story: her extraordinary resilience in the face of a fickle, and at times sexist, critical establishment that misunderstood her for decades. 

Q: What’s next for you?

Something completely different. A film about the legendary diplomat and CIA Director Bill Burns.

MONK IN PIECES  is now playing in selected theaters worldwide. For upcoming screenings, visit monkinpieces.com.

Talking Comedy in TV and Books: Aisha Muharrar's Debut Novel (Virtual)

Thursday 10/09 Free for members

Aisha Muharrar AB '06 is an Emmy Award–winning writer and co-executive producer of the hit show HACKS. She was a writer for PARKS AND RECREATION for six seasons and has also written for THE GOOD PLACE and SIT DOWN, SHUT UP. LOVED ONE is her first novel.

Join us for an intimate conversation about genre-jumping and being funny!

RSVP HERE

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Harvardwood Creative Salon: Works In Progress (Virtual) 

Friday 10/10  Free for members

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. 

RSVP HERE

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Storytelling in the Age of Machines: Inside Ken Liu’s New Book Series (Virtual)

Monday 10/20 Free for members

A Conversation with Ken Liu AB ’98, JD ’04: On Dreams, AI, and ALL THAT WE SEE OR SEEM

What does it mean to be human in an age of artificial intelligence? How do we hold on to daydreams when machines can generate endless images, stories, and realities? And what happens when the line between dream and waking life begins to blur?

Join award-winning author Ken Liu—Harvard graduate, former software engineer, attorney, and now full-time writer—for a conversation about his newest novel, ALL THAT WE SEE OR SEEM. This visionary sci-fi thriller introduces Julia Z, a surly and enigmatic hacker navigating a world transformed by AI. With this new series, Liu asks pressing questions: How do we maintain our humanity when human participation itself becomes rare? How do we find meaning and connection in a world of deepfakes and machine-made art?

RSVP HERE

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Last Month at Harvardwood

Last Month at Harvardwood, we held a Creative Salon, talked AI and Media, attended a screening of THE VALE, launched the STORIES WITHOUT BORDERS podcast, and 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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