Kerry Washington Talks ‘Imperfect Women’ And ‘Animals’

Imperfect Women star and executive producer Kerry Washington knows how rare it is to have a dream project greenlit in an industry that is struggling. “This is a challenging time in a lot of ways,” says Washington, who insisted that production of Apple TV’s psychological thriller series take place in Los Angeles. Being able to work with two female collaborators is equally a testament to Washington’s ability to create the working environment of her choosing. “I feel so blessed to be able to do what I love to do,” she says. “I want to do it with people I think can make me better and who I can make better.”

DEADLINE: How important is being a producer on your work — having control over not just your acting process, but over the project in general?

KERRY WASHINGTON: It’s pretty important to me. I still sign on for work that I’m not a producer on, but it has to be at a very high level and with partners that I really trust will allow me to be a collaborator, even if I’m not a producer. For example, working with Rian Johnson on the Knives Out film or working on Animals [with Ben Affleck], those are two directors I really respect and admire, and I believed that they would be great collaborators — and that I would learn a lot in the process that I could take back to the work that I do as a producer. But most of the work that I do now, I’m involved in either because Simpson Street is producing it, as with this show, or at least as an EP.

L-R: Elisabeth Moss, Kerry Washington and Kate Mara in ‘Imperfect Women’

Apple TV

DEADLINE: What reassurance does that give you on a project?

WASHINGTON: It allows me to have a voice in the creative process. It allows me to have agency and an opinion from everything from who’s hired, who are the department heads, who’s being cast, edits on the writing, post-production, the marketing plans. It allows me to collaborate and contribute at every stage of the process.

DEADLINE: Would you say that you and Elisabeth Moss are the top of the ladder on Imperfect Women?

WASHINGTON: I don’t know that either of us would use that language or that kind of a metaphor. We’re much more communal partners. Our production companies are the lead production companies. It started with her — she bought the rights to the book and brought me in. But Love & Squalor and Simpson Street have really linked arms to bring this show to life.

DEADLINE: What was it about Araminta Hall’s source material that you were drawn to?

WASHINGTON: I think, and we really tried to honor this in the show, it was extraordinary for both Lizzie and I to read this material, where you enter the story through one character’s point of view, and that feels substantive enough to be the entire story. And then suddenly it switches and you’re in the perspective of the dead woman. And then it switches again. That framework was so spectacularly creative, but also a really good exercise in the world right now, to remind ourselves that we may not understand the full picture of something until we allow ourselves to stand in someone else’s shoes.

DEADLINE: There are small nuances to how the characters change within the course of eight episodes. Who is Eleanor from the point of view of Eleanor?

WASHINGTON: Oh God, what an interesting question. In those first three episodes she really has a transformative journey, so I’m not even sure that she would answer that question the same way in Episode 1 that she does in Episode 3. What I really love is that by the end of the show it feels like you’re in, for the first time, a shared perspective of Eleanor and Mary (Elisabeth Moss). There’s a sense of self and clarity of identity that comes from both of these women grappling with the truth, and being willing to share their truths with each other and with themselves.

Kerry Washington interview Imperfect Women — Elizabeth Moss anmd Washington in ‘Imperfect Women.’

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DEADLINE: As an actor, how aware were you of the differences in Eleanor as a character, depending on whether it was her own episode, Nancy’s (Kate Mara) or Mary’s (Moss)

WASHINGTON: We were very aware of it. And I came to the work in a very different way [depending on the episode]. By the time we were in Episodes 4 and 5, I knew that my job was to really support Kate Mara, because now she was holding the show. And then in 6 and 7, although 7 is shared, it was to really support Lizzie, because now she’s holding the show. That was also a joy — for each of us to step into the leading role, but then also very comfortably serve each other as we pass the baton, right until the end. And, then, it does really feel like Lizzie and I cross that finish line together, which is so fun.

DEADLINE: In a case like this, do you rely more on the writing or the directors, when it comes to those subtle character changes?

WASHINGTON: A lot of it is in the writing, and that’s part of why we worked so hard [on the scripts]. Annie Weisman, our showrunner, is fantastic, and Kay Oyegun was also with us on every episode. We had a great writers’ room. One of the things that we fought for at Simpson Street was making sure that there was real inclusivity in the writers’ room — that there were several perspectives and voices of color in the room. So, a lot of that is in the writing. And one of the things we thought a lot about, as producers, was making sure that we hired different directors so that each character has its own slight adjustment in directorial perspective. It feels like a cohesive show but you do feel the differences when it shifts from one character to another.

It’s a much more intimate complexity, a quieter complexity. For us, it was exciting to make sure that the stakes were still as high when the force that you’re up against is your own jealousy, envy, or desire, as opposed to the White House or Gilead.

DEADLINE: Lesli Linka Glatter directed the first episode. What is it like to work with her

WASHINGTON: It was so exciting. I’d never worked with her before. Lizzie had, either on The West Wing, Mad Men or both. As a producer, to get to hire the head of the DGA at the time…she’s such a legend and somebody I’d wanted to work with for a long time. When she said yes, it was really exciting for us. I think we all felt like, ‘OK, now we really have a show.’ I feel like I learned so much working with Lesli, the care that she takes and the clarity that she fights for. She’s an extraordinary inspiration — and also so resilient. The fires had just happened right before we started filming, and she lost everything. Lesli lost her house. I remember she had a meeting with Annie, and she called Annie and said, “I want to meet with you, but all of my notes burned in the fire, so I’m going to need another day.” Just one day. And they rescheduled for one day later. And she came and directed despite having just been through that.

L-R: Elisabeth Moss, Kerry Washington and Kate Mara in 'Imperfect Women' — L-R: Elisabeth Moss, Kerry Washington and Kate Mara in ‘Imperfect Women’

Apple TV

DEADLINE: There is a sense that female-led productions are now more common. In actuality, how unique is it to have a production like yours, with three female protagonists who are all on equal footing?

WASHINGTON: I feel like you think it is. We still get asked about it a lot, so I don’t think it’s as common as you think it is. Even the fact that we’re having this conversation means it’s not unnoticeable still. I don’t think it’s as outrageous as it was, even when Reese [Witherspoon] first started her production company or when Drew Barrymore first started Flower Films. We’re definitely living in a different landscape of actor-producers and female actor-producers creating work for themselves and other people. But I don’t think by any means we’re in a place of equitable production.

DEADLINE: Also, a complex female character used to be someone who was not purely in service of a male character, but it would also be one of extremes. With these characters, complex means something far more nuanced.

WASHINGTON: Yeah. It’s funny, I was saying to Kate and Lizzie that all three of us have had long, abundant careers, and the three of us have all played strong, complicated women. But, like you said, often those women were up against these larger-than-life forces, whether it was the entire state of journalism or the White House and the entire government, or the entire advertising industry. We’ve been up against these huge, big bads that are these external forces. And on the show, the big bad is really on the inside of all of us. What we’re grappling with is our own denial, our own fear of admitting who we are and what we want and who we love. It’s a much more intimate complexity, a quieter complexity. For us, it was exciting to make sure that the stakes were still as high when the force that you’re up against is your own jealousy, envy, or desire, as opposed to the White House or Gilead.

DEADLINE: Is it as an acting challenge more nuanced, more interesting or more difficult, when it’s something more interior?

WASHINGTON: It’s just different. I think for me, I have to mine my own emotional landscape with more diligence.

[Ben Affleck] was a director that I really admire, whose work I think has been spectacular throughout the years. The writing was great. The whole cast is great. And also as a producer, the opportunity to work with Artists Equity and to really be under the hood over there and see what they’re doing, what they’re creating.

DEADLINE: Was there a scene that you felt opened her up to you, where she was most authentically Eleanor?

WASHINGTON: I think the scene where she admits to her brother that she’s loved Robert (Joel Kinnaman) for as long as she has. Because that is the truth that she’s been suppressing for decades. And I think Donovan (Leslie Odom Jr.) becomes the first person that Eleanor risks being honest with to see if she’ll survive it. That leap into truth was very edifying for me.

DEADLINE: As an acting challenge, is it more nuanced, more interesting or more difficult when it’s something more interior?

WASHINGTON: It’s just different. I think, for me, I have to mine my own emotional landscape with more diligence.

DEADLINE: Was there a scene that you felt really opened her up to you, where she was the most authentic Eleanor?

WASHINGTON: I think perhaps the scene where she admits to her brother that she’s loved Robert (Joel Kinnaman) for as long as she has. Because that is the truth that she’s been suppressing for decades. And I think Donovan (Leslie Odom Jr.) becomes the first person that Eleanor risks being honest with to see if she’ll survive it. Taking that leap into truth was very edifying for me.

DEADLINE: On the show, she makes a terrible friend decision with Robert, but it’s one of the juiciest parts of the writing. How do you come to it, when you know it’s a horrible thing for a person to do?

WASHINGTON: It’s so funny, we used to argue about this all the time, because I’d be like, “Oh, it’s such a horrible thing she does.” And Kate Mara was like, “But she’s dead, who gives a sh*t.” It’s so funny, it depends on who you ask.

DEADLINE: Do you try to ground it in something or are you just like, look, the writing’s the writing?

WASHINGTON: No, every choice has to be grounded. You have to understand why the character does what they do. Because people don’t do bad things to be bad, people make difficult choices because they feel like they don’t have other options. Whether that’s fact or not, it’s how people feel. I always have to understand where the decision comes from, especially the bad decisions. I have to unpack, “What broken place is this decision coming from? What longing am I trying to feed or what wound am I trying to heal?” Because that’s why people make questionable choices.

It’s that old expression: “Hurt people hurt people.” So, I have to really understand, with a high level of compassion. If I’m judging my character, that means I’m outside of my character looking down on her. So, it’s not to say that I excuse all the behavior a character makes, but I have to at least understand it with a level of compassion and empathy.

DEADLINE: I love that Kate Mara was like, “She’s dead, you’re not cheating on anyone.”

WASHINGTON: [Laughing.] Yeah, she’s like, “Who cares, she’s gone.”

DEADLINE: What’s next? What was the draw to Ben Affleck’s Animals?
I mean, it was a director that I really admire, whose work I think has been spectacular throughout the years. The writing was great. The whole cast is great. And also as a producer, the opportunity to work with Artists Equity and to really be under the hood over there and see what they’re doing, what they’re creating. Because not only do I really admire and respect Ben’s work through the years, but what Matt [Damon] and Ben have created together is really exciting.

DEADLINE: Did it offer you a challenge that you haven’t encountered before?

WASHINGTON: Lots. It was one of the most emotionally rigorous jobs I’ve had, but also just the group of artists was so fun to work with.

DEADLINE: And then 24-7 with Eva, that’s a thing?

WASHINGTON: That’s not a thing, at the moment.

lazyload fallback — Read the digital edition of Deadline’s Emmy Preview magazine here.

DEADLINE: And Netflix’s An Innocent Girl?

WASHINGTON: That’s where I’m on my way to right now. I’m filming right now in New Jersey. And then this summer, Simpson Street is producing The Whoopi Monologues at Lincoln Center. We’re re-staging Whoopi Goldberg’s one-woman show from decades ago, but we’re doing it with a cast of five actresses to honor Whoopi’s legacy and that groundbreaking material.

DEADLINE: In terms of professional accomplishments, what does it mean to be able to do that?

WASHINGTON: For Simpson Street, we really love cultivating work in the theater space. It’s such an important narrative space to create work and to support artists. But also I’ve met so many actresses through the years who will tell you that they would not be doing what they’re doing if it were not for this one-woman show that Whoopi Goldberg created. From Tracee Ellis Ross, to Robin Thede, to Anika Noni Rose. I actually recently heard an interview with an actor… It was Pedro Pascal, quoting Whoopi’s one-woman show and the impact that it had on him as a child. So many of us can still quote you the show verbatim. I feel really excited to be able to honor Whoopi in this way. And to bring this material, a lot of it which is sadly still resonant and relevant, but to bring it to new audiences.

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Jordan Brand Basketball Enters a New Era of Design and Innovation With the Air Jordan 41 — NIKE, Inc.

Welcome to a new chapter of Jordan greatness.

Jordan Brand is introducing the Air Jordan 41: a game shoe inspired by Michael Jordan’s legendary versatility and style, built with a future-forward philosophy that pushes the boundaries of technology and expression.

The silhouette’s introduction marks an evolution of Jordan Brand heritage design, blazing a new path to greatness that prioritizes performance innovation and modern style — redefining what it means to be a leader in basketball footwear and challenging opponents to keep pace.

“The Air Jordan 41 is a statement about where Jordan Brand is headed. It carries forward a legacy built on greatness, but it was created for the athletes, whose culture and style of play are defining the future of the game,” says Sarah Mensah, President, Jordan Brand. “This silhouette reflects our commitment to pushing performance innovation with purpose — delivering bold design, elite function and a point of view that only Jordan Brand can bring. It is more than the next Air Jordan. It is a signal of the next chapter of Jordan performance.”

The 41 is a testament to innovation, dominance and driving the future of the game — engineered for end-to-end dominance on the court, just like MJ himself.

Feedback from athletes at every level of the game, including MJ, Jordan Brand’s professional and collegiate roster, and players from Nike’s Elite Youth Basketball League, informed the design of a lighter and more responsive Air Jordan silhouette.

At the foundation of the Air Jordan 41 is the new-to-Jordan nano print mesh upper, engineered to deliver the lightweight containment and breathability demanded by today’s game.

The advanced woven construction helps reduce weight while creating targeted structure throughout the shoe, allowing athletes to move with confidence, precision and speed. By balancing airflow with support, the nano print mesh upper provides a secure, adaptive fit that helps players stay locked in through every cut, drive and defensive possession, reinforcing the Air Jordan 41’s focus on modern performance without compromising comfort.

“With the 41, we wanted to create an upper that could move with the athlete and feel lighter without sacrificing the containment and confidence they need to play at their best,” says Leo Chang, Senior Creative Director, Basketball & Sport, Jordan Brand.

“The nano-printed mesh allows us to engineer that balance, creating a material that feels light on the foot while providing targeted structure and support where players need it most. It’s a solution that reflects our ongoing pursuit of performance innovation, helping athletes move freely, react instinctively and stay locked into the game from tip-off to the final possession.”

The upper material also responds to a variety of graphic and color treatments. The cross-hatch print, with its two contrasting directions of lines, can each receive a color independently or cohesively. This allows for a number of different looks for the 41, both through graphic approaches and when in motion.

The 41 also features a full-length Zoom Strobel for underfoot responsiveness; a ZoomX midsole for industry-leading lightness and speed; and, in an evolution from the 40, adds an Air Zoom heel unit for enhanced impact protection. The addition of the Zoom air bag in the heel was inspired by Michael Jordan’s insights on the importance of defense and staying on your toes, and its cushioning ensures players can stay prepared to rock forward.

“The Air Jordan 41 prepares me for every movement; it gives me confidence in every cut, read and possession,” says Jordan Brand athlete Napheesa Collier. “When you trust your shoes like that, it makes all the difference.”

A carbon fiber and TPU shank provides stability, working in tandem with a full-length HART rubber herringbone traction pattern to enable rapid changes in direction. These features collectively modernize the shoe’s construction and ensure optimal comfort and performance for all hoopers.

The design evolution from the Air Jordan 40 to the 41 takes shape through both material choices and technological advancements. The new silhouette eschews the leather traditional to the Air Jordan lineage, opting for nanoprinting and thin textiles that create a lighter, nimbler feel. Details like a TPU window that exposes the shoe’s internal technology are reminiscent of a high-performance car, and while the shoe’s tech is sleek and understated on the surface, its sophistication is revealed upon closer inspection.

Each design element, from the asymmetrical collar to the metallic Jumpman hardware, signals Jordan Brand’s commitment to advancing the legacy of the Air Jordan lineage, setting the stage for the next generation.

“What I love about 41 is that it lets me play my game without thinking about what’s on my feet. It’s light and responsive, and it gives me the confidence to move how I want,” says Jordan Brand athlete Paolo Banchero. “When you’re competing at the highest level, those details matter, and the 41 delivers.”

This move beyond nostalgia and heritage is brought to life through colorways that follow a gemstone theme, each reflecting MJ’s mentality and personal symbolism, such as the Ruby launch colorway that calls to mind his legendary three-peats in Chicago. Upcoming colorways include an Amethyst style modeled on MJ’s birthstone, and Opal, which nods to his alma mater.

This seasonal color approach coupled with the performance-driven design positions the Air Jordan 41 as a true evolution for Jordan Brand, setting a new standard for basketball footwear.

“The 41 matches the way I like to compete. It’s built for players who impact the game on both ends,” says Jordan Brand athlete Stephon Castle. “I trust it every possession because it keeps me feeling quick, connected and ready to react. When you’re playing with confidence, you can focus on being aggressive and letting your game take over.”

The Air Jordan 41 debuts with a limited release in China on August 28, with a global release to follow.

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Peters-Berger pleads guilty in homicide of Lily Peters, sentenced to life in prison

CHIPPEWA FALLS, Wis. (WEAU) – A major development in the criminal case against the man accused of killing 10-year-old Lily Peters is taking place in Chippewa County Court.

“I think this tragedy opened up a lot of eyes to just how fragile things are for all of us,” Dana Whitcome, a stepmother of two of Lily’s siblings, said.

18-year-old Carson Peters-Berger appeared in person for the first time when he pleaded guilty to the charge of first-degree intentional homicide in the death of Lily Peters. Chippewa County Judge Steven Gibbs accepted the plea and convicted Peters-Berger of the crime. The other two charges of sexual assault were dismissed but read in. Judge Gibbs then sentenced Peters-Berger to life in prison with the possibility of extended supervision after 25 years.

“I believe in giving people a second chance after you paid your debt to society,” Judge Gibbs said. “While you were a minor when you committed it, it is still a very serious offense, and it shook this community.”

While going through the proceedings, Judge Gibbs asked Peters-Berger if he understood that by pleading guilty to first-degree intentional homicide, he would be admitting to killing Lily Peters and planning to do so. Peters-Berger said he did understand.

“I don’t think you get closure in the criminal justice system. It’s not set up for that sort of thing,” Chippewa County District Attorney Wade Newell said. “It’s one point in time that is now over with, but it doesn’t give you closure regarding what occurred because nothing that’s done here will erase what happened to the poor young girl.”

Family members of Lily Peters spoke in the hearing. They discussed the impact the loss had on their families in the community and shared how much they missed her.

“She was my light,” Kiara Stevens, a friend of Lily Peters, said. “There were times where I just didn’t want to do it anymore, but Lily was that kind of person that made you want to keep going.”

Those connected to the family also shared concerns about the possibility of Peters-Berger being eligible for release and the worries that another crime may be committed.

Peters-Berger did not wish to speak in the hearing

Lily Peters disappeared the evening of April 24, 2022, after leaving her aunt’s home in Chippewa Falls. Her family reported her missing that night. The following morning, volunteers searching the area found the 10-year-old’s body in a wooded area near a walking trail.

Peters-Berger previously pleaded not guilty in December 2024 to adult charges of first-degree intentional homicide, first-degree sexual assault causing great bodily harm and first-degree child sexual assault. A jury trial was initially scheduled for this November, but because of that hearing, that will no longer take place.

Newell was asked why the case was no longer going to trial. He said trials always present some risk as you don’t know how a jury will respond. He also said trials can be very traumatic for the family. Those close to Lily said they are relieved this chapter is over and are ready to continue healing

“We just look forward to moving forward in healing and sharing that spirit of kindness with everyone in Lily’s memory,” Whitcome said.

“Lily was an amazing person and what I hung onto the most was the happy memories instead of that last bad one I had of her,” Stevens said. “I just want to say it does get better. We do heal.”

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