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I’m thrilled to share this great Deadline article about The Scapegoat, an anthology limited series that I’m developing in collaboration with showrunner Barry Schkolnick and producer Brian Tee. This series is dedicated to exploring the harrowing stories of people who were unjustly accused of things they never did as a way of manipulating national conversations about everything from loyalty to country to feminism and even the AIDS crisis.

I’m honored to contribute to adapting the true story of Iva Toguri, a young Japanese American woman wrongfully convicted of treason for committing war crimes as the infamous radio propagandist “Tokyo Rose” during World War II. The series, exploring universal tales of resilience, is supported by the Japanese Americans Citizens League, a group of dedicated to shedding light on the injustices faced by Japanese Americans and bringing justice to Iva for her unconscionable treatment during and after the war.

This series will showcase the complicated moral choices making up our country’s history while humanizing the people who were wrongly vilified.

Earlier this year, I had the opportunity to be interviewed by VoyageLA! I got to share my journey from nonprofit marketing to theatre arts, culminating with the co-founding of Erosion.

I’m grateful to have had access to this platform to discuss the challenges of breaking new ground, finding collaborators who grasp the urgency of the climate crisis, and debuting my sassy headshot by writer/actor/photographer and picket-buddy Adam George Key.

My business partner Megan Morrison and I are very excited to announce that our conservation-driven film production company Erosion has been accepted into the VentureBridge startup investment incubator!

This program offers an initial investment, networking with other business founders and potential investors, and programming and other resources to support our development as entrepreneurs. We’re honored to be selected for this year’s cohort.

Last year, I got to participate in the Hollywood Climate Summit as a screenwriter promoting my feature Science Fair the Musical with the Climate Pitch Fest. This is a great group of people doing critical work to direct storytelling in media to highlight the most urgent challenge of our times. All of the programming will be live-streamed and some will be in person as well. A lot of screenwriting events are Thursday morning, and there will be Earth Sessions with workshops and activities engaging art, activism, and more. The movement to tell #climatestories is getting more urgent and this is a fun way to get involved.

In honor of AAPI Heritage Month, a number of groups coordinated picketing meet-ups to support the WGA Writers Strike. The strike is supporting by all film industry unions as a way of pushing back against the increased exploitation of writers and other creatives and crew. As Vice-Chair of the WGA West Asian American Writers Committee, I’m honored to be collaborating with so many advocates for writers.

I’m excited to announce that I’ve been elected to serve as the Vice-Chair of the Writers Guild of American West Asian American Writers Committee! As a multi-racial Chinese/Eastern European American writer, I’ve been extremely active in this committee since joining the Guild. The AAWC represents the professional and creative interests of Asian American writers in Hollywood. Asian American screenwriters are making great strides, but we still only make up 4.3% of screenwriters compared to 5.7% Asian Americans who live in the United States. It’s an honor to pursue this work with our new Chair, Kristina Woo.

Last week, the Hollywood Climate Summit convened for the first time in person, and I’m delighted to share that I was a Finalist for the NBC Universal “Writing Climate: Pitchfest for TV and Film” to promote my coming-of-age musical feature Science Fair the Musical.

We’re already a third of the way into the Writers Boot Camp where I’m drafting a new TV pilot on spec with the working title, “The Gold West.” By September, I will have a second revision of this one-hour pilot and will be excited to start shopping it around town. The fellowships provide a fast-paced series of courses and exercises to quickly but thoroughly bound through initial drafts of new written material, and I’m already falling in love with my characters and their unfortunate conflicts.

I’m especially delighted to be embarking on this adventure with friend and collaborator Alison Minami.

I am honored to be listed as a semi-finalist for the inaugural Mu Tang Clan playwrights incubator. Theater Mu is doing a lot for Asian American playwrights across the country and I could tell this was an extremely competitive process. Congratulations to Marlina Gonzalez (Minneapolis, MN), Keiko Green (La Jolla, CA), Kathy Haddad (Minneapolis, MN), Alex Lin (Saddle River, NJ), and Susan Xu (San Francisco, CA) for making it into the program!

Periodically, I get to participate in fun networking events through Los Angeles Female Playwrights Initiative (LAFPI). Recently, I got to share a short piece called, “What We Owe,” and directed another piece, “Being Richard Green,” by Lynne Jassem.