KING 5 hosted the Washington gubernatorial debate between Republican Dave Reichert and Democrat Bob Ferguson. Everyone involved in the planning and execution of this debacle should never be allowed near a debate stage again.

Washington is facing serious crises: violent crime is surging, especially among juveniles, gas and housing prices are through the roof, and homelessness is out of control. On top of that, too many are dying from drug overdoses. These issues demand attention.

It would be great if voters were able to here a substantive debate on these issues. But we didn’t. KING 5 designed a debate that only allowed one minute responses from Reichert and Ferguson and 45 second rebuttals. It was a joke.

Was this the worst version of a debate KING 5 could produce?

How do you solve the crime crisis? You can’t answer that loaded question in 60 seconds. How do we get housing costs under control? They gave 45 seconds for that one. Can you explain how you’ll rein in government spending in a minute? Of course not. No one could with such a short allotment of time.

Reichert did his best to get specific. He pointed out that while Ferguson was on a hiring spree for hundreds of attorneys, Democrats were running cops out of town. Reichert rightfully called out Ferguson for helping legalize drugs, while expecting us to believe he’ll fix the crisis. And he highlighted how Ferguson was conveniently silent on the soft-on-crime policies his party passed, which got us into this mess.

Ferguson, meanwhile, danced around tough questions, made laughable promises to fix problems he helped create, whined about Reichert fact checking him in real time, and mentioned Donald Trump more times than Kamala Harris did in her own presidential debate. Ferguson’s got a sickness — a bizarre obsession with Trump that he hopes Washington voters share.

KING 5 didn’t serve anyone

KING 5 served no one but themselves, and the irony is, they failed even at that.

In a petty move, KING 5 refused to allow a simulcast of the Washington gubernatorial debate, trying to funnel viewers to their own network. Even the national networks didn’t stoop that low — they allowed simulcasts of presidential debates because they understood voters deserve to hear where candidates stand. But KING 5? They couldn’t care less.

The real kicker? The debate they hoped would bring them attention won’t even do that. The format was a joke, and the set looked like a high school drama club’s attempt at stage design. The podiums wobbled, the lighting was so bad it cast distracting shadows on Reichert, and the whole production screamed amateur hour. The drama kids at Auburn Riverside High School (Go Ravens!) could have done a better job.

These details matter — unless, of course, you don’t care how you come off. And maybe that’s the point. KING 5 didn’t care about putting on a quality debate. They just wanted to pat themselves on the back for hosting one.

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Denzel Washington is proud of his children. Why wouldn’t he be? His youngest son, Malcolm Washington, just premiered his directorial debut with an adaptation of August Wilson’s play, “The Piano Lesson,” which he co-wrote with Virgil Williams. In addition, the film stars his Denzel’s eldest son, John David Washington, with his sister Katia serving as executive producer and Malcolm’s twin sister Olivia, also having a role in the movie.

Washington has been designated the custodian of Wilson’s legacy by Constanza Romero, and with it, he has an overall deal with Netflix to produce all of Wilson’s 10-play Pittsburgh Cycle, also known as “The Century Cycle.” Set across several decades of the 20th century, it chronicles the experience and heritage of the African American community.

His longtime producing partner, Todd Black, has collaborated with him for years on various projects, including the first three Wilson adaptations: “Fences” (2016), “Ma Rainey’s Black Bottom” (2020), and now “The Piano Lesson.”

“Fences” earned Black his first Oscar nom for best picture, alongside Washington, who became the first Black person in history to be nominated for producing and acting in the same year.

“The Piano Lesson,” which also stars Samuel L. Jackson, Danielle Deadwyler, Ray Fisher, Corey Hawkins and Michael Potts, is the most cinematic of three Wilson adaptations to date. Denzel Washington wants all of the Wilson films to feel unique. “Each one is different, will be different,” he says.

Black and Washington tell Variety exclusively that the next adaptation from the Wilson catalog will be “Joe Turner’s Come and Gone.”

“We haven’t talked about anybody involved in that yet, though,” Washington says before chuckling, “Well…we haven’t talked to you guys about it.”

Does that mean they are close to casting the main roles? The film is set in the second decade of the 20th century and tells the story of a few freed former enslaved African Americans in the North, dealing with migration and discrimination.

“Joe Turner” opened on Broadway in 1988, directed by Lloyd Richards with a cast including Delroy Lindo and Angela Bassett. A Broadway revival, directed by Bartlett Sher, opened at the Belasco Theatre in 2009 with Chad L. Coleman and Danai Gurira.

Variety sat down with Black and Washington to discuss their longstanding partnership, their families growing up together, and what to expect from Washington’s upcoming role in Ridley Scott’s highly anticipated “Gladiator 2.”

How did the partnership with Todd Black and Denzel Washington begin?

Todd Black: It all started in the Valley back in July 1989. I was a baby producer, and I really wanted to meet Denzel. At that time, I had never seen an actor like him — someone who didn’t just act but lived the role. So, I kept bugging his agent, Ed Limato, to arrange a meeting. Finally, Ed gave me an hour with Denzel.

And how did that first meeting go?

Black: I was nervous but more excited than anything else. We sat down for lunch, and Denzel asked me, “Why am I here?” I told him, “Because I want to work with you.” He was kind, and he said something that’s always stuck with me: “When you read a script that makes your heart race and keeps you up all night, call me.” That advice stuck with me through all my movies.

Denzel, can you talk about your son Malcolm and his journey as a filmmaker?

Washington: I’m extremely proud of Malcolm. He went to AFI, one of the top film schools, and graduated number one in his class. I think he did anyway, and that’s what I’ve been telling everybody. From early on, I knew he had a vision. I’ve learned through my son the difference between making a film and being a filmmaker. I’ve directed four films. I had Todd to lean on, but I didn’t know what to do necessarily. Malcolm has studied filmmaking. He’s an academic. When he was younger, he would read my scripts and ask insightful questions. His mother is a huge film buff, so he — like all my kids — grew up watching movies. He always had a desire to make films, and now he’s doing it.

Todd, you’ve known Malcolm since he was young. What’s it like seeing him follow in his father’s footsteps?

Black: I’ve known Malcolm since he was in Pauletta’s stomach. I remember when Malcolm and his siblings came to my office when they were younger, maybe not even teenagers yet; Malcolm was the one asking all the questions about movies. He’s always had a love for film. Seeing him grow into the visionary filmmaker he is today is amazing. He’s worked hard, studied filmmaking at the highest level, and now he’s creating incredible work.

Cinephiles say you have a “signature” acting move, the single tear drop, like the one you showed in 1989’s “Glory.”

Washington: That’s not a “signature move.” Signature move sounds like a go-to. In fact, I teared because the whip was wet and it actually hurt. It was a real tear. That’s a true story. It was felt, and if you go back and look, they kept wetting everything down, and the felt was wet. And it was hitting me in the back, and it hurt.

Black: How many takes did you do?

Washington: I don’t even know, or how he cut it to be honest with you. He cut back and forth so many times, there’s no telling what takes it is. All I know It hurt — I wasn’t crying but it was a real tear.

How did you land on Danielle Deadwyler and Ray Fisher?

Washington: Bernice is such a complex character, and Danielle is just an extraordinary actress and person.

Black: With Ray, If you saw the stage play, he was great there. We had the advantage of seeing him on stage. We had trouble getting him because he had other commitments. We just thank God for his agents. They were really helpful. We just stayed on it, because every time we talked about other actors that we weren’t going to get, they didn’t come close. I remember this conversation with Denzel and Malcolm. We were like, “That’s a good actor, but they’re not Ray.” It comes with time when an actor meets a role, or a role meets an actor, whatever they call it, and that’s what that is for Ray.

You must feel immense pride seeing your children thrive in filmmaking and acting.

Washington: Of course, as a parent, the dream is to see your children doing what they love and succeeding at it. And they’re doing fantastic. My daughter is working in the West End in London, and my sons and daughter Katia are making waves in film. I’m proud of them, not just for their success but for the fact that they’re doing it as a close-knit family, supporting each other. So, this is the greatest gift. That they’re healthy, still humble. And working hard. And love each other, a tight unit. I’ll smack them upside the head if they’re not.

Denzel, I’ve got to ask you about your involvement in “Gladiator 2.” Fans were nervous when they first heard the announcement, but knowing you’re a part of it has brought hope. What can you tell us?

Washington: Huge! Ridiculously big! [Long pause with a smile]

And… Paul Mescal and Pedro Pascal? Are they good?

Washington: Not good. Great. Both of them. It’s a hard act to follow, and Paul pulled it off. He’s his own gladiator. I didn’t have to do anything but this [sips water with pinky up]. That was my job. Just twirl the glass, twirl the goblet, and hold whatever I had in my other hand. And make sure I don’t step on my gown. A new trailer [for “Gladiator 2”] comes out on the 23rd. It’s epic.

Denzel, I observed the love your children have for Pauletta, your wife, and we can only hope that our kids can love us that much, even well into adulthood. Can you speak to that?

Washington: [Laughing] Listen, I know if there’s a choice between their mother and I… “Dad, thanks… see ya!” You can’t win that one, and you never will. And I get it.

Black: He’s just not as good a cook as she is.

Washington: But seriously… That’s the foundation for all of my children. The actors, the directors, the producers, and the other one in London. Their mother has laid a foundation for them. She’s reliable in every syllable and letter of that word. She’s consistent. She’s done everything that a woman or a man could do. She’s been amazing.

What are some of the key lessons you’ve learned from each other?

Black: I mean…Denzel is always generous with his knowledge, and his loyalty in this business is rare. We know what each other likes, and we have similar tastes when it comes to films. It’s more than just business — it’s fun. We laugh, we argue sometimes, but it’s always about making the best movie possible. Denzel has made me a better producer by pushing me to focus on detail and simplicity. We develop scripts together, reading them out loud and going through every line. That process has shaped how I work with other filmmakers too.

Washington: We are pros, and we are friends. And that’s saying a lot in this business. He is the best at what he does, and he’s my friend. Can’t ask for more.

Denzel Washington is paying homage to the late actor James Earl Jones, who died this week at 93.

“He’s my hero,” Washington tells Variety. “My college theater career started because of ‘The Emperor Jones’ and ‘Othello’ with James Earl Jones.”

Jones starred in the stage adaptation of Eugene O’Neill’s play “The Emperor Jones” in 1971 and played the titular “Othello” in Joseph Papp’s New York Shakespeare Festival and later Off-Broadway production in 1964.

A larger-than-life titan in film, TV, and theater, Jones was most recognizable for his unmistakable baritone voice, which he used to portray the villainous Darth Vader in the “Star Wars” franchise and King Mufasa in the animated classic “The Lion King.”

Washington continues, “I wasn’t going to be as big as him. I wanted to sound like him. He was everything to me as a budding actor. He was who I wanted to be.”

In a 1998 interview, Washington said, “There weren’t a lot of serious Black actors for us to emulate, to follow, to admire. There was Sidney [Poitier]; it was James Earl Jones on stage. That’s what I remember.”

With Jones’ death, two of the performers who inspired the most decorated Black actor in Oscars history are gone.

Although Jones and Washington never worked together in film or television, their artistic legacies were spiritually adjacent. One of Jones’ career highlights was his Tony Award-winning performance as Troy Maxson in the 1987 Broadway production of August Wilson’s “Fences.” In 2016, Washington directed, produced, and starred in the film adaptation, which earned him Oscar nominations for best picture and actor, making him the first Black person to be nominated in both categories in the same year.

Washington is currently at the Toronto Film Festival promoting the new August Wilson film adaptation, “The Piano Lesson,” which he produced with Todd Black. It screens on Tuesday evening. The film, co-written and directed by Malcolm Washington, generated Oscar buzz after its premiere at Telluride. It stars John David Washington, Danielle Deadwyler, Ray Fisher, Michael Potts and Samuel L. Jackson.