Washington

For Sterling K. Brown, Hulu’s ‘Washington Black’ seeks Black joy, not pain

Published

8 months ago

July 18, 2025

For Sterling K. Brown, Hulu’s ‘Washington Black’ seeks Black joy, not pain

Hulu Original Series “Washington Black” stars Ernest Kingsley Junior and Sterling K. Brown.

James Pardon/Disney

“Your legacy isn’t just the work that you do, it’s the opportunities that you create for other people.” —Sterling K. Brown.

For Sterling K. Brown, part of the appeal of producing and starring in Hulu’s Washington Black (July 23) was mentoring Ernest Kingsley Jr., the young actor playing the title character. “If I’m in a position where I can help somebody get an opportunity to do it, that means a lot to me, because your legacy isn’t just the work that you do, it’s the opportunities that you create for other people,” Brown said. Based on the bestselling novel, Kingsley plays George Washington “Wash” Black, a young boy who escapes slavery and, through his scientific mind, sets off an unexpected adventure. Brown plays Medwin, whose life intersects with Wash. “It seems most Black stories that are for mainstream consumption have to do with Black pain, have to do with Black trauma,” Brown said. “So I thought, how awesome would it be to take this historical context but to still illuminate, [and] highlight, joy, hope, faith, love, etc.” And for Kingsley, the story has broad appeal—”that universal story of us going through that harrowing narrative and pain in our past and triumphing over it.”

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Editor’s Note: This conversation has been edited and condensed for publication.

Sterling, you can always take top billing, but for this project you’re supporting and producing. What about this inspired you to want to make it?

Sterling K. Brown: It was the central character. It was a young boy who finds himself in the midst of slavery, but through the power of his imagination, of his hope, of his faith, is able to transcend his circumstances. And it’s also the community that protected his dreams, right? Recognizing the power and importance of dreamers and how dreaming is contagious. I think that’s why, oftentimes dreamers are sort of snuffed out and taken out, and why people need to protect them, because they recognize that, like so many of us, [they] are just trying to survive, or just trying to make it from day to day to day, until you come into the presence of a dreamer, and they say life is bigger than what you can currently imagine. And if you follow me, I can show you something bigger. That’s who Washington is, and I’ve never seen that in the historical context of slavery, not allowing slavery to define who he is as a person, but allowing his creativity to be fully manifested and ultimately be like this brilliant creator, the seeker of love and beauty everywhere that he goes, and bringing that contagion with him.

Pursued by Willard, Wash faces a life-altering choice. Meanwhile, tensions are on the rise between Tanna and McGee and Young Wash and Titch’s Arctic journey, forces Young Wash to forge his own path forward. From…

Disney/Chris Reardon

That’s one of the things that I think I was so pleasantly moved by the story is that so often, when it comes to depictions of slavery in film and television, joy and hope are often not necessarily part of the story. And those stories are very important to tell. But I loved the aspect of hope that this story has.

Brown: It was very important to me. Interesting enough, this project came to me before American Fiction. But American Fiction actually talks a lot about how it seems most of Black stories that are for mainstream consumption have to do with Black pain, have to do with Black trauma, right? So I thought, how awesome would it be to take this historical context but to still illuminate [and] highlight, joy, hope, faith, love, etc.

And Ernest, taking on this role, the title role, that’s a lot this early in your career. Did you feel the pressure of the title role? And how did you go about finding your version of Washington?

Ernest Kingsley Jr.: Of course. Look, I did feel some pressure. It was quickly dissipated by the cast around me, the community around me, and someone like Sterling as well, who’s been such a mentor and a friend and a brother. He definitely was showing me the ropes all along. I was really being supported by the talent and the love and care by our cast and crew. And in terms of research, I guess to start off with, definitely reading the book. The show kind of branches off from it. Reading the book was a great foundation for me, just to kind of initially get into the world of Washington Black and the epicness and the journey and the story, and then obviously, going deeper into other things and the time period. But it was definitely the book that launched me into it.

WASHINGTON BLACK – “St. George and the Dragon” – Young Wash and Titch evade capture, finding allies, threats, and shocking truths about Titch’s family. In Halifax, Tanna’s attempt to derail her engagement complicates her ties…

Disney/Chris Reardon

Even though this is a work of fiction, it does really illuminate part of Black history that not a lot of people know much about. Black pirates, for example. Was there any part of this history that you learned something from?

Brown: I love the Dahomey, which also is echoed in [The] Woman King. I loved the sort of throughline of the Afro Nova Scotian community that we’ve discovered in Halifax, right? And I’ve worked in Charleston, South Carolina, on a TV show called Army Wives, for a long time and the Gullah accent [also called Geechee] I found very peculiarly in Halifax, Nova Scotia. And I was like, “You guys sound like you’re from South Carolina.” “No, we don’t sound like we’re from South Carolina. We’re from up here.” And I’m like, “Whoa, what are you talking about, man?” And it’s sort of like the accent that Medwin uses, because I thought that 50 percent of all Africans that entered into the United States came through a port in South Carolina called Sullivan’s Island, right? And so for me to hear that accent when I went to Halifax was this incredible moment, like, “Oh, wow. We really did make it.” This underground railroad is not something that I just heard about. I see the evidence of it here in Nova Scotia while we’re shooting on location. It was a magical moment for me.

And Ernest, what about you? Did you learn anything about this history?

Kingsley: I think Sterling kind of touched on it, the Afro Nova Scotia community. Obviously, we see how Medwin has really upheld and built that community at the time, but also just going there and filming and realizing that they’d been there for nearly seven generations. And just seeing the community they’ve built and how close-knit and tight they are, against all odds, against when they first arrived there, all those generations ago, they were given kind of terrible land, the unfertile land, and what they built from that, what they did, and they’re still there in abundance. Just getting introduced to that kind of culture and community was really cool.

There are also aspects of the characters in this that we so often don’t see, particularly Black characters in science, space, flying, all of those things. Was it important to you for these characters to be doing things that, historically in entertainment, we’ve often only seen white characters do.

Brown: Man, you’re making my heart just crack open in the most beautiful way possible, because there is an active erasure of our history going on in the United States right now. To make it sound as if we just didn’t exist. And there is no American history without Black history. And there’s also a de-emphasis of our history of creativity, of innovation, of invention, right? And so, in order to put that on the screen, hopefully people will reverse engineer and be like, “You know what? I know it’s a work of historical fiction, but what is the history of Black entrepreneurship, invention, creativity?” Because there’s so much that we’ve done, but that’s not highlighted for such a long time, especially as a young person growing up in the States, the idea of being smart and being cool was sort of seen as an anathema. They didn’t cross over with each other, especially in the Black community, actively putting something on screen that shows a very, very cool, passionate, loving man who’s so smart, who’s so imaginative, who’s so creative.

I had a professor tell me once that Black history is American history, you can’t really separate the two. But Ernest, for you, as someone who isn’t American yet you’re telling this uniquely American story, what was it like for you processing how this story is told?

Kingsley: To be really honest, it’s quite like universal in terms of the Black, British and American [experiences]. I feel like that universal story of us going through that harrowing narrative and pain in our past and triumphing over it. And also, just the thing of us not getting the credit for our inventions and beautiful things we’ve done spans across, unfortunately, history across the world. And so it was touching the core of the experience that is universal for us. And I think the thing about seeing this Black boy and him getting the visibility—obviously his credit is stolen, but like the visibility—just the narrative and seeing him build this invention, build this thing with his creativity. There’s something about being seen and seeing that on a screen, as opposed to—like you were saying—you see a very common narrative of certain people do certain things, we don’t see Black people in sci-fi, but you see that in the story. And it’s like, that’s evidence, and that’s permission. So, yeah, it was really cool.

To that, what is really powerful about Washington’s experience is every time he looks to the sky and hopes or dreams. The power of the sky and stars in Black history, in spirituals, in the work of Harriet Tubman, it’s really powerful.

Brown: It does make sense, right? Because if you look just in your immediate circumstances, you may just see fields and places where you’ve labored throughout the day. And so the escape is the sky, right? Like sky is the limit, sky is the possibility, because it doesn’t represent anything that’s immediately around you. It’s like, at least there’s some expanse, there’s space, there’s distance, possibility exists up here. Reality is here [on land], possibility is there, right? Even with regards to Wash and the water, he’s never gone into the ocean and didn’t know how to swim, and then ultimately, my man had to throw you into the water, because the water also represents possibility. It’s the unexplored, right? We’ve explored this part. Where can I go to be free, where can I go to be fully realized, right? And then you have a young boy who goes into the water and learns how to fly.

Sterling, it seems like you’ve had one big project after another these past few years, picking up an Oscar nomination along the way. Do you not like taking breaks? And what is it that makes you want to keep producing projects like this?

Brown: Thank you. That’s very kind. There is a part of you that feels like you want to strike while the iron is hot. There is a part of you that feels like, “Oh, you know what? If you don’t do something, then maybe they’ll forget about you.” Easy come, easy go sort of thing. I do take breaks. Like, I still assistant coach my son’s NFL flag football team. I see my other son play soccer all the time. I take little breaks for myself, but I try to structure it in such a way [that] the TV show that I get a chance to do in the states keeps me at home for about half the year, and then I have the other half a year to play around with. And it’s been a good formula for me, because my family knows where I am most of the time, and then I still have space to sort of scratch the creative itch inside of me, to just do something different. Variety is the spice of life, and I’m so fortunate H. Alan, in an industry that is undergoing a massive contraction; to be busy and people want to work with me that I feel like I should take advantage of this, because not a lot of people are having these opportunities. It’s a blessing.

WASHINGTON BLACK – “If You See My Mama, Whisper Her This…” – In Morocco, Wash reunites with Titch and uncovers his father’s true legacy. With Tanna, he journeys to his homeland on the Wind Sailer….

Disney/James Van Evers

What does it mean for you to mentor someone like Ernest? Considering that you could have easily produced a project for yourself in the title role.

Brown: Sometimes you see people try to make that part their part. I was like, “No, it’s not my part.” But if I’m in a position where I can help somebody, where it is their part, get an opportunity to do it, that means a lot to me, because your legacy isn’t just the work that you do, it’s the opportunities that you create for other people, and hopefully just make it a little bit easier. That’s all you’re trying to do. The people that come behind you, you want it to be just a little bit easier, right? I stand on the shoulders of Denzel [Washington], who stands on James Earl [Jones], who stands on Paul Robeson, like there is a legacy here of performance, and each one of those dudes made it a little bit easier for me. And hopefully I get a chance to do the same.

And for you, Ernest, it’s so rare for someone your age to have this kind of mentorship. What is it like for you to have this support?

Kingsley: I don’t think there’s enough words that I could use to describe the level of gratitude. The level of support and love and care that Sterling has poured into me from when I was 21—I’m 24 now—has been second to none. The last three years, he’s been nothing but support, like a pillar. We’ve seen how this industry can be, especially with the strikes and stuff, and it’s not lost on me how rare it is to have that kind of support system with a star that Sterling is a gift, it’s an absolute blessing. I’m really grateful.

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Related Topics:Disney Ernest Kingsley Jr.Featured Hulu Parting Shot Parting Shot Podcast Sterling K. Brown Washington Black

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Washington

Holdout Democrats leave WA House support for income tax in doubt

Published

7 hours ago

March 5, 2026

Press Room

Holdout Democrats leave WA House support for income tax in doubt

The votes weren’t there yet late Wednesday for Democrats’ income tax bill in the Washington state House.Democratic members are withholding support for the proposed income tax on millionaires, saying they want to see if a new version of the controversial legislation, possibly due out Thursday, will satisfy their concerns.

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Washington

Bill strengthening Washington child sex abuse material laws focuses on consciousness, AI

Published

19 hours ago

March 4, 2026

Press Room

Bill strengthening Washington child sex abuse material laws focuses on consciousness, AI

SEATTLE — A bill aimed at tightening Washington’s laws on child sex abuse material is headed to Gov. Bob Ferguson’s desk after clearing the Legislature unanimously.

King County Prosecuting Attorney Leesa Manion said 2ESSB 5105 passed the House unanimously Tuesday night after the Senate unanimously approved it on Jan. 28, 2026.

SEE ALSO | Washington exempts clergy from reporting abuse learned in confession after settlement

Manion called the measure one of her public safety legislative priorities.

“People who peddle in the misery of sexually abused children must be held accountable,” Manion said. “I am grateful for the work of Senior Deputy Prosecuting Attorney Laura Harmon – both in prosecuting these cases and advocating for these legal fixes – and Senators Tina Orwall and Manka Dhingra for championing this legislation.”

Manion’s office said the current state law has gaps that can prevent prosecutors from holding offenders accountable in some cases.

Under current law, prosecutors cannot charge defendants for creating images of child sex abuse unless the child victim was conscious or knew they were being recorded.

The office also said that possessing sexually explicit fabricated (AI) images of non-identifiable minors is not considered child sex abuse material under Washington law.

The bill would update RCW 9.68A.040 to remove the requirement that a child be aware of an abusive recording. It would also update the definition of child sex abuse material to include fabricated (AI) images of non-identifiable minors.

The legislation would also increase the statute of limitations to 10 years for depiction crimes. Manion’s office said the current statute of limitations is three years, and argued that because the images can remain online indefinitely, victims can be re-traumatized for decades.

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Washington

Utah Starts Road Trip with Win in Washington | Utah Mammoth

Published

1 day ago

March 4, 2026

Press Room

Utah Starts Road Trip with Win in Washington | Utah Mammoth

Both of Utah’s power play units scored in the win. Sergachev scored his 10^th goal of the season on the power play 13 and a half minutes into the first period. Peterka scored his 21^st of the season, on the man-advantage, in the final two minutes of the middle frame.

Peterka has three power play goals in the 2025-26 campaign while Sergachev has matched a career-high with five power play goals this season. Overall, Utah’s power play has scored six goals in the last six games. That output matches the Mammoth’s total from their previous 18 games (per Mammoth PR). Tourigny discussed what’s changed with the team’s performance in recent games.

“(The) puck gets in,” Tourigny laughed. “But, no, I think there’s a number of things. The most important thing is we’re aggressive. We’re attacking.

“…If you look at our goal, the first one, it’s a direct play to the net and then on the loose puck recovery we take a shot with traffic and we score,” Tourigny continued. “On the second one, it’s a slot pass, a great shot by (Peterka). I think we had that attack mindset.”

Guenther, who is on the Mammoth’s top power play unit, agreed with Tourigny’s assessment of attacking more.

“I think just attacking, less predictable,” Guenther explained. “Shooting it more, I think (it is) just work really. Trying to play like a 5-on-5 mindset but on the (power play).”

The Mammoth made several line changes for tonight’s game and the new lines started to find chemistry, despite it being the first game with these changes.

“I like them,” Tourigny said of the changes. “Obviously (Guenther) got a goal, but Cooley’s line was really good. I was looking at the expected goals at the end, I think they were above 90%. So that’s pretty, pretty awesome. Then I think (Barrett Hayton’s) line worked really hard. They’re heavy on pucks and they play well defensively. I did like (Michael Carcone’s) line in (the) previous three games, and I did like them again tonight.”

When Washington pushed back with a power play goal and multiple close chances in the third period, Utah fought hard against the momentum swing to secure the win.

“I thought we did a pretty good job,” Keller explained. “Weathering the storm as much as we could. They’re a great veteran team. They made it hard on us. They pressured us all over the ice, but I was proud of the way we fought there towards the end.”

Utah’s bench was positive and calm throughout the game, especially late in the third. This helped the Mammoth through the momentum swings. Keller, who had two assists in the win, was one of the key voices for the Mammoth.

“He’s one of the guys who was really positive on the bench,” Tourigny explained. “(All the players) were but (Keller) was really vocal. He was really good energy on the bench. So that was really good.”

Additional Notes from Tonight (per Mammoth PR)

Guenther had two points in the win (1G, 1A) and the forward has earned a team-high nine points (5G, 4A) through six road games in 2026. He has become the third Mammoth skater to reach the 50-point mark this season (28G, 23A) and established a new career-high in goals.

Sergachev has 18 power play points this season (5G, 13A) and is tied with Keller for the team lead this season.

Keller has recorded multiple primary assists in a game for the seventh time this season and the 27^th time in his NHL career. He has now tallied multiple points in four of his last six contests (2G, 8A), with three multi-assist outings over that span.

The Mammoth continue their five-game road trip in Philadelphia on Thursday night. Game time is 5 p.m. MT and available to watch on Mammoth+ and Utah16.

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