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Washington Black and the Sterling K. Brown Brand

Washington Black and the Sterling K. Brown Brand
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Hulu’s Washington Black is not a bad show. It’s not perfect; the CGI and green screen work could be better in some scenes, and some of the dialogue is overly preachy and heavy-handed. But, for a show set in the early 19th century that has to spend half its time talking about the relationship between an abolitionist adult white man and an enslaved Black boy in a way that’s neither creepy nor white savior-ish and the other half talking about the still-very-true topics of racism, colorism, elitism and even alcoholism without being a total downer, it does a pretty good job.

It is also, without a doubt, a Sterling K. Brown show.

For the better part of the last decade, since his Emmy-winning breakthrough role as prosecutor Christopher Darden on FX’s American Crime Story: The People v. O.J. Simpson, Brown has become known for being that guy. He’s the Wife Guy who hosts a podcast with his spouse, actress Ryan Michelle Bathe, always makes sure to support her work, and talks in interviews about the importance of family

On screen, he’s known for morally upstanding characters who give great speeches that make you see the world differently (see his other Emmy-winning role, for NBC’s This Is Us, in which he played an adoptee who never felt at home with his loving family) or who can be trusted to do the right thing (he was just nominated for another Emmy; this time for his work as a dogged secret service agent investigating a murder cover-up on Hulu’s Paradise). He doesn’t always play a saint; he was a cocky, murderous dentist on Brooklyn Nine-Nine when it was on FOX and voiced a teenage boy with questionable motives on Netflix’s Big Mouth. But, largely, he is cast in roles where even if you don’t agree with his character’s motives, you can kind of see their points (a prince who wants to help the oppressed rise up in Black Panther; a soldier way too invested in the kingdom of Arendelle in Frozen 2, the talent manager protecting his friend in Prime Video’s The Marvelous Mrs. Maisel, the guy who cut ties early from a messy situation in HBO’s Insecure, ACS’s Darden yet again …). 

If Brown is seen or heard on the screen, chances are good that karma will also make an appearance and that judgments will be made upon those who behave poorly.

Washington Brown is an adaptation of Esi Edugyan’s award-winning novel. That version is a bildungsroman because it follows the titular hero’s growth from a child born into slavery in Barbados to an adult who is a free intellectual hiding out in Nova Scotia. For TV, creator Selwyn Seyfu Hinds tells the story through both flashbacks and time jumps, so audiences have to live the character’s backstory to fully understand his current decisions. As a child, Wash (as portrayed by Eddie Karanja) is a perceptive youth who lucks into becoming the mentee to his owner’s science-loving/slavery-hating brother Titch (Tom Ellis). In adulthood, Wash (now played by Ernest Kingsley Jr.) continues his intellectual pursuits. The blanks of what happens to Wash, Titch, and everyone else in those intervening years are slowly filled in throughout the series’ eight episodes, four of which were made available to critics. 

Perhaps because we know that Wash survives to adulthood, it’s those older years that are more interesting (even if his youth is spent evading capture in a rudimentary Hindenburg or befriending pirates). As an adult, Wash must watch his back both for lawmen who see him as a runaway and from authorities who question the growing mutual infatuation he has with the biracial-but-passing Tanna (Iola Evans), the daughter of a scientist whom Wash holds in high regard.

This is also the part of the story that solidifies it as a Sterling K. Brown show. Brown appears in Washington Black as Medwin Harris, a character who is given larger prominence than he has in the book, but reportedly not because Brown asked for that to happen. Medwin is a leader of the Black community in Nova Scotia and is another father figure for Wash. He also has remarkable timing to show up and shoot down the villains just when we need him, and then only tossing his wide-brimmed hat to the side after he’s exacted the shots. Medwin is also protective and always wants to see the good in his loved ones. He feels great emotional pain when they wrong him. Disappointing Medwin might as well be disgracing Brown’s oeuvre. 

This is fine with me. I like Brown as an actor, and I’m glad he’s working to bring stories like this to a wider audience. It also means that I have to make peace that characters might launch into monologues like this one from Tanna about what it’s like for her to live in the white world: “It’s not simply about deserving more. One has to be more. Be better. Be more than what the world expects. Or that even you expect. Can you be all of that?”

Washington Black is also one of those shows that stars kids but isn’t recommended for kids; at least not those elementary-age or younger. There are bloody and violent points. Murders and beatings happen. The Wire’s Jamie Hector guest stars in a couple of episodes as rebellion leader Nat Turner, and the dialogue he’s given by the writers doesn’t sugarcoat the nauseatingly hellish lives of the people he liberated. 

The novel Washington Black was released in 2018. It therefore has a few years on the 2024-released James, Percival Everett’s Pulitzer Prize-winning recontextualization of the character Jim from Mark Twain’s Adventures of Huckleberry Finn. And this TV series adaptation will undoubtedly be compared to the upcoming Steven Spielberg-produced film adaptation of that book, and what happens when an inevitably larger budget and name recognition come onto a project. But, on its own, the TV series Washington Black is both a boilerplate morality play and a reminder that it’s totally fine for stories that focus on BIPOC characters to be just fine.

Washington Black premieres July 23 on Hulu.


Whitney Friedlander is an entertainment journalist with, what some may argue, an unhealthy love affair with her TV. A former staff writer at both Los Angeles Times and Variety, her writing has also appeared in Cosmopolitan, Vulture, The Washington Post and others. She lives in Los Angeles with her husband, son, daughter, and cats.

 
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