Washington
For Sterling K. Brown, Hulu’s ‘Washington Black’ seeks Black joy, not pain
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.
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.
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.
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.
Washington
PHOTOS: Long Beach State Dirtbags vs. Washington State, Baseball
The562’s coverage of Dirtbags Baseball for the 2026 season is sponsored by P2S, Inc. Visit p2sinc.com to learn more.
Long Beach State dropped a 9-7 decision against Washington State on Sunday afternoon, closing out a busy weekend on Bohl Diamond at Blair Field.
The visiting Cougars took the lead for good in the eighth inning when Long Beach Poly grad Ryan Skjonsby delivered a game-winning two-run single with two outs and the bases loaded. Skjonsby was 2-for-4 with a walk, a run scored and three RBIs for Washington State in their road victory.
For the Dirtbags, catcher Damon Valdez scored twice and had a key two-run single in the sixth to help lead a Long Beach comeback. Trevor Goldenetz had a pair of hits at the top of the order, including an RBI triple. Camden Gasser walked twice and singled, improving his on-base percentage to .574 on the season.
Long Beach State (4-7) will be back in action at home on Tuesday with an exhibition match against Waseda University from Japan. The Dirtbags will then visit San Diego State on Wednesday and open Big West play at UC Santa Barbara this weekend.
Washington
Week Ahead in Washington: March 1
WASHINGTON (Gray DC) – Operation “Epic Fury” — the weekend military operations carried out by the U.S. and Israel against targets in Iran — tops the agenda for Congress as lawmakers return to Washington.
Sunday, President Donald Trump said the new leadership in Iran wants to talk to the Trump Administration.
Democrats in both chambers called for Congress to return as soon as possible for classified briefings on Iran, followed by a move to vote on the War Powers Act. The Constitution gives Congress the power to declare war on another country.
Congress’ return to Washington was originally delayed due to the start of the 2026 midterm elections cycle.
Tuesday, voters in Arkansas, North Carolina and Texas head to the polls for primary elections.
North Carolina and Texas are drawing significant attention, as both states are facing congressional redistricting and competitive primary races for Senate seats.
In Texas, incumbent Sen. John Cornyn (R) is facing primary challenges from state Attorney General Ken Paxton and Rep. Wesley Hunt. On the Democratic side, Rep. Jasmine Crockett is facing state Rep. James Talarico.
In North Carolina, candidates are vying to replacing retiring Sen. Thom Tillis (R) . They include former Governor Roy Cooper (D) and former Republican National Committee Chair Michael Whatley.
Also this week, the Rev. Jesse Jackson is laid to rest. He will be honored Wednesday in Washington before a final memorial service Saturday. Jackson died Feb. 17.
Copyright 2026 Gray DC. All rights reserved.
Washington
Caps Fall in Montreal, 6-2 | Washington Capitals
Cole Caufield scored in the first minute of the first period and added another goal later in the frame, sparking the Montreal Canadiens to a 6-2 win over the Capitals on Saturday night at Bell Centre.
Washington entered the game with a modest three-game winning streak and six wins in its last seven games. Although they were able to briefly draw even with the Habs after Caufield’s opening salvo, Caufield and the Canadiens responded quickly and the Caps found themselves chasing the game for the remainder of the night.
“I didn’t mind some of the things that we did tonight,” says Caps coach Spencer Carbery. “I thought we created enough offensively, we just made way too many catastrophic mistakes to be able to sustain that.”
In the first minute of the game, Caufield blocked a Jakob Chychrun point shot, tore off on the resulting breakaway and beat Charlie Lindgren for a 1-0 lead for the Canadiens, half a minute into the contest. Lindgren was making his first start since Jan. 29, following a short stint on injured reserve for a lower body injury he sustained in that game.
After the two teams traded unsuccessful power plays, the Caps pulled even in the back half of the first. With traffic in front, Declan Chisholm let a shot fly from the left point. The puck hit Anthony Beauvillier and bounded right to Alex Ovechkin, who had an easy tap-in for career goal No. 920 at 13:16 of the first.
But Montreal came right back to regain the lead 63 seconds later, scoring a goal similar to the one Ovechkin just scored.
From the left point, Canadiens defenseman Jayden Struble put a shot toward the net. It came to Nick Suzuki on the goal line, and the Habs captain pushed it cross crease for Caufield to tap it home from the opposite post at 14:19.
Less than two minutes later, Lindgren made a dazzling glove save to thwart Caufield’s hat trick bid.
Midway through the middle period, Montreal went on the power play again. Although the Caps were able to kill the penalty, the Habs added to their lead seconds after the kill was completed; Mike Matheson skated down a gaping lane in the middle of the ice and beat Lindgren from the slot to make it a 3-1 game at 12:22.
Minutes later, Montreal netminder Jakub Dobes made a big stop on Aliaksei Protas from the right circle, and Suzuki grabbed the puck and took off in the opposite direction. From down low on the right side, he fed Kirby Dach in the slot, and Dach’s one-timer made it 4-1 for the Canadiens at 16:34 of the second.
In the waning seconds of the second, Dobes made one of his best stops of the night on Beauvillier, enabling the Canadiens to carry a three-goal lead into the third.
Those two quick goals in the back half of the second took some wind out of the Caps, who were playing their third game in four nights following the three-week Olympic break.
“We kill off a penalty, and then we end up going down 3-1right after the penalty,” says Caps center Nic Dowd. “Those are challenging to give up, right? You do a good job [on the kill], it’s a 2-1 game, and then all of a sudden, before you blink, it’s 4-1 and then the game gets away from you.
“And they defended well tonight; It’s tough to score goals in this League, and you go into the third period, and you’ve got to score three. You saw that [Friday] night when we played Vegas; they were able to score two, but it’s tough to get that third one. I think we have to manage situations a little bit better. It’s a 2-1 game on a back-to-back, we just kill a penalty off, or maybe we just have a power play – whatever it is – we have to manage that, especially in an arena like this, where the crowd gets into it on nothing plays. They can really sway momentum – and in a good way – for their home team.
“We just have to understand that if we don’t have our legs in certain situations, because of travel, it’s back-to-back or whatever, we really have to key into the details of the game and not let things get away from us quickly.
With 7:28 left in the third, Ovechkin netted his second of the game – and the fifth goal he has scored in this building this season – on a nice feed from Dylan Strome to pull the Caps within two goals of the Habs, who have coughed up some late leads this season.
But Montreal salted the game away with a pair of late empty-net goals from Suzuki and Jake Evans, respectively.
In winning six of their previous seven games, the Caps had been playing with a lead most of the time. But playing from behind virtually all night against a good team in a tough building is a tall task under any circumstances. And it was exactly that for the Caps on this night.
“They score on the first shift,” says Strome. “Obviously, Saturday night in Montreal is as good and as loud as it gets. They just got a fortunate bounce; puck was off Caulfield’s leg, and a perfect bounce for a breakaway. It’s just one of those things where we got down early and now they kind of fed off the momentum of the crowd.
“But I still think our game is in a good spot, and we’ve just got to keep stacking wins. Obviously, we’ve played more games than everyone so we’re going to need some help, but we’ve just got to keep stacking wins. It’s tough on the back-to-back in Montreal, but we’ll find a way to bounce back on Tuesday [vs. Utah at home] and then go from there.”
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