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

Brothers shot Park Police officer who arrested one of them the day before, documents say

Published

2 days ago

March 25, 2026

Press Room

Brothers shot Park Police officer who arrested one of them the day before, documents say

Charging documents reveal the U.S. Park Police officer who was shot Monday in Southeast D.C. had arrested one of the suspects the day before and was following that suspect at the time.

The suspects are brothers, 22-year-old Asheile Foster and 21-year-old Darren Foster, of Southeast. They appeared in federal court Wednesday afternoon.

Court documents state the Park Police officer who was shot had arrested Asheile Foster on Sunday on suspicion of dealing drugs. The officer said he followed Foster after he was released from jail on Monday and came to Park Police headquarters to get his personal belongings.

According to prosecutors, Foster told police he knew he was being followed by a white Tesla, and he confronted the officer on Queens Stroll Place SE, jumping out in front of the Tesla before the officer swerved around him.

Then, dozens of gunshots went off, the officer told police. He said in charging documents he was shot in the shoulder as he kept driving several blocks to the intersection of Benning Road and Southern Avenue SE, where police found him. A helicopter then took him to a hospital. According to charging documents, the officer was treated and released the same night as the shooting.

A U.S. Park Police officer who was shot in Southeast D.C. on Monday is recovering from what authorities say was likely a targeted attack. Multiple law enforcement sources tell News4’s Mark Segraves that when the officer was shot, he was investigating a shooting that occurred in Anacostia Park on Friday.

Photos in the charging documents show the brothers firing at the officer’s Tesla, according to prosecutors.

The shooting drew a massive police presence to the Southeast neighborhood near the D.C-Maryland border Monday night.

Shell casings littered the middle of the street. Police said they recovered two weapons: a Glock 9 with an extended magazine and an AR-15.

Prosecutors said that when the officer was shot, he was investigating a shooting that occurred in Anacostia Park on Friday. No one was injured in that shooting.

Darren Foster was located and stopped shortly after the shooting, D.C. police said. Asheile Foster was found on Tuesday.

The brothers were charged with assault on a federal officer, assault with intent to kill and weapons charges. They could face up to 60 years in prison if they’re convicted.

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Washington

Washington passes new AI laws to crack down on misinformation, protect minors

Published

3 days ago

March 24, 2026

Press Room

Washington passes new AI laws to crack down on misinformation, protect minors

Washington just became the latest state to regulate artificial intelligence.

Under a pair of bills signed by Gov. Bob Ferguson Tuesday, companies like OpenAI and Anthropic will have to include new disclosures in their popular chatbots for Washington users.

Ferguson asked legislators to craft House Bill 1170 to crack down on AI-generated misinformation. When content is substantially modified using generative AI, that information will now have to be traceable using watermarks or metadata. The new law applies to large AI companies more than 1 million monthly subscribers.

“ I’m confident I’m not the only Washingtonian who often sees something on my phone and wondering to myself, ‘Is that AI or is it real?’ And I feel like I’m a reasonably discerning person,” Ferguson said during the bill signing. “It is virtually impossible these days.”

RELATED: WA Gov. Bob Ferguson calls for regulations on AI chatbot companions

House Bill 2225 establishes new guard rails for AI chatbots that act like friends or companions. It applies to services like ChatGPT and Claude, but excludes more narrowly tailored chatbots, like the customer service windows that pop up when visiting a corporate website.

Chatbots that fit the bill will have to disclose to users that they are not human at the start of every conversation, and every three hours in an ongoing chat. The tools will also be barred from pretending to be human in conversation with users.

The rules go further if the user is a minor. Companies that operate chatbots will have to disclose that the tools are not human every hour, rather than every three hours, if the user is under 18. The bill forbids AI companions from having sexually explicit conversations with underage users. It also bans “manipulative engagement techniques.” For example, a chatbot is not allowed to guilt or pressure a minor into staying in a conversation or keeping information from parents.

“AI has incredible potential to transform society,” Ferguson said. “At the same time, of course, there are risks that we must mitigate as a state, especially to young people. So I speak partly as a governor, but also as the father of teenage twins who grapple with this as a lot of parents do every single day.”

Under the law, AI chatbots will not be allowed to encourage or provide information on suicide or self-harm, including eating disorders. The companies behind these tools will be required to come up with a protocol for flagging conversations that reference self-harm and connecting users with mental health services.

The regulations come in the wake of several high-profile instances of teenage suicide following prolonged interactions with AI companions that showed warning signs. Many more AI users of all ages have reported mental health issues and psychosis after heavy use of the technology.

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Washington

Washington faces Utah, aims to stop 16-game skid

Published

3 days ago

March 24, 2026

Press Room

Washington faces Utah, aims to stop 16-game skid

Washington Wizards (16-55, 14th in the Eastern Conference) vs. Utah Jazz (21-51, 14th in the Western Conference)

Salt Lake City; Wednesday, 9 p.m. EDT

BOTTOM LINE: Washington heads into the matchup with Utah after losing 16 in a row.

The Jazz have gone 13-24 in home games. Utah ranks second in the Western Conference with 16.6 fast break points per game led by Lauri Markkanen averaging 3.3.

The Wizards are 5-29 in road games. Washington is 9-10 when it has fewer turnovers than its opponents and averages 15.3 turnovers per game.

The Jazz score 117.4 points per game, 6.7 fewer points than the 124.1 the Wizards give up. The Wizards’ 46.1% shooting percentage from the field this season is 2.9 percentage points lower than the Jazz have allowed to their opponents (49.0%).

The teams square off for the second time this season. The Jazz won the last meeting 122-112 on March 6, with Ace Bailey scoring 32 points in the victory.

TOP PERFORMERS: Kyle Filipowski is averaging 10.5 points and 6.9 rebounds for the Jazz. Brice Sensabaugh is averaging 19.9 points over the last 10 games.

Alex Sarr is averaging 16.5 points, 7.4 rebounds and two blocks for the Wizards. Will Riley is averaging 14.4 points over the past 10 games.

LAST 10 GAMES: Jazz: 3-7, averaging 116.4 points, 43.3 rebounds, 27.7 assists, 9.9 steals and 4.4 blocks per game while shooting 45.9% from the field. Their opponents have averaged 122.7 points per game.

Wizards: 0-10, averaging 114.3 points, 37.4 rebounds, 24.5 assists, 6.9 steals and 4.5 blocks per game while shooting 47.1% from the field. Their opponents have averaged 130.6 points.

INJURIES: Jazz: Lauri Markkanen: out (hip), Isaiah Collier: out (hamstring), Keyonte George: out (leg), Cody Williams: out (shoulder), Walker Kessler: out for season (shoulder), Jusuf Nurkic: out for season (nose), Jaren Jackson Jr.: out for season (knee).

Wizards: Anthony Davis: out (finger), Tristan Vukcevic: day to day (back), Cam Whitmore: out for season (shoulder), Alex Sarr: day to day (toe), Tre Johnson: day to day (foot), Kyshawn George: out (elbow), D’Angelo Russell: out (not injury related), Trae Young: out (quad).

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The Associated Press created this story using technology provided by Data Skrive and data from Sportradar.

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