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Red pen politics: 7 vetoes Gov. Bob Ferguson made in the Washington state budget

Red pen politics: 7 vetoes Gov. Bob Ferguson made in the Washington state budget

Yahoo24-05-2025

Gov. Bob Ferguson using a red pen to partially veto a bill on Tuesday, May 20, 2025. (Photo by Jacquelyn Jimenez Romero/Washington State Standard)
Before Washington Gov. Bob Ferguson signed the next state budget on Tuesday, he vetoed a few dozen spending provisions scattered throughout its 1,366 pages.
The plan he approved lays out $78 billion in spending over two years. The roughly 55 items he removed add up to around $22.3 million in savings.
He zeroed out funding of contracts to nonprofits serving foster youth, college students, immigrants, and seniors. He canceled spending for studies and work groups. Ferguson's veto message, containing an itemized list, spans 15 pages.
Here are some of the targets of Ferguson's veto pen.
The Garage is a cafe where high school students can drop in after school and receive tutoring, counseling, or case management services.
It will lose $300,000, or roughly one-fifth of its budget. If the dollars cannot be made up through private donations, the center will look at reducing its services for teens. The reduction would have a 'massive impact' in the community, said KayLee Jaech, the group's executive director.
The governor wrote in his veto message that supporting programs and services for youth is important, but cited budget constraints.
Mentor Washington has been recruiting, training and providing support for mentoring programs for at-risk youth in Washington using $1.55 million in contracts with the Department of Children, Youth and Families. About half is getting spent now on a pilot effort focused on foster youth.
Lawmakers shaved $1 million of that sum in the budget they sent Ferguson. While he noted the significant reduction for the 'valuable' program, he axed the remaining $550,000.
'We need to find a way to regroup and reconfigure what service looks like moving forward,' said Jolynn Kenney, executive director of Mentor Washington.
Centro Cultural Mexicano in Redmond provides services for low-income, immigrant, and Spanish-speaking residents in King and Snohomish counties.
They will lose a $200,000 state grant, which helped connect clients with health care, financial coaching, small business assistance, internships, and home buying services — all at no cost.
Free services like this help support communities, Ferguson said. But he said that due to the budget challenges, this program was something the state couldn't afford.
Refugee Women's Alliance provides services to refugees and immigrants, including an ice skating lesson program for preschoolers from diverse and low-income families.
They will lose the $200,000 the Legislature allocated for the skating program. They have previously received money from the state and have also partnered with the Seattle Kraken and One Roof Foundation.
Political conservatives were sharply critical of this grant-funded program on social media. The governor said that while youth enrichment opportunities like this are beneficial, this one needed to be cut because of the budget deficit.
A year ago, the state Board for Community and Technical Colleges received $257,000 'solely for the creation of a Hospitality Center of Excellence' at Columbia Basin College in Pasco.
It launched in January with its leadership drawing up a game plan to strengthen ties between culinary programs on campuses with hospitality businesses and organizations. A key goal was to develop best practices and strategies for workforce education and training in the industry.
Not now. It will close up shop in July. Though the Legislature did budget $408,000 for two years of operation, Ferguson deemed the 'worthwhile endeavor' not affordable and crossed it out.
The state Department of Ecology won't get $816,000 of Climate Commitment Act proceeds to assess Washington's siting and permitting authority around potential wind energy projects in federal waters off the state's coast. The agency was also going to look into the ecological impacts of such undertakings as part of a broad analysis.
'Given the current federal administration's position on offshore wind, this work is less
time sensitive,' Ferguson wrote in his veto message, adding he is 'committed to continued dialogue with coastal Tribes regarding the future of offshore wind projects.'
Meanwhile, Ecology did receive $338,000 to develop 'planning, engagement, and evaluation tools for effective ocean management and offshore wind energy development.' And Ferguson left $500,000 in the budget to contract with 'a nonregulatory coalition' in Seattle that wants Washington to be able to receive power from future floating wind projects off the West Coast.
How many places in Washington market themselves as 'senior independent living' communities for individuals aged 55 years and older?
Lawmakers put $80,000 in the budget for the state Department of Commerce to come up with an answer. And, by July 1, 2026, the department was to make recommendations on creating a registry of senior living locations as a consumer protection move for residents and prospective residents. Not going to happen.
'Supporting our seniors is important to me but I am vetoing this item because of the state's significant fiscal challenges and funding cuts from the federal government,' Ferguson wrote to lawmakers in his veto message.

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ECAM Forum Coordinator Alberto Valverde on an Expanded Second Edition: ‘The Winning Teams From Cannes Are Also in Madrid'
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To consolidate ECAM's international ties, new partnerships were sealed this year with Conecta Fiction & Entertainment, which runs a week later in Cuenca, near Madrid, and with ACAU and Proimagenes Colombia, the film-TV state agencies in Uruguay and Colombia. ECAM Forum closes Friday June 13 with an awards ceremony. In this interview, ECAM Forum coordinator Alberto Valverde unpacks his 2025 program. How does it feel to stage ECAM Forum a few weeks after a stellar year for Spanish films and co-productions in Cannes? It was an exceptional year for Spanish cinema. Having two filmmakers [Oliver Laxe and Carla Simón] in main competition, a spot usually taken by Pedro Almodovar, was historical. Their respective films 'Sirât' and 'Romería' are international co-productions that illustrate the reason why we exist. Indeed last year the two producers of 'Sirât'– Andrea Queralt and Xavi Font – came to ECAM to present a new project in the middle of shooting their film in Morocco. Xavi submitted Álvaro Pulpeiro's 'Petróleo' at the Films to Come and Andrea came with Silvina Schnicer's 'La Quinta' for The Last Push. Then Elástica's María Zamora, producer of Romería, was here as well. The winning teams from Cannes are also here. In recent years we've witnessed how the Spanish audiovisual industry has morphed and internationalized, with established and new talent working at home and globally. Before launching ECAM Forum, we've been in constant dialogue with all these Spanish players and talent, precisely to connect them to the world and foster new collaborations. Last year you had an almost clean sweep with seven out of eight works in progress going on to premiere at A festivals. That was quite a coup… Yes, we are over the moon. We want to consolidate our works in progress as a relevant space to discover gems for the year ahead, and those results help a lot. It was rewarding talking to the teams behind the works in progress and knowing it was key for them to secure certain premieres and selections that literally were signed during ECAM Forum. Last year's Last Push titles included very different films, from the fragile ones like the winning documentary 'Gods of Stone' to the more solid ones like 'Los Tortuga'('The Exiles') that both ended having nice premieres [respectively in Rotterdam and Toronto] and reached world audiences, literally the number one objective of our work. Could you reiterate what made your 2024 inaugural event a blueprint for the editions to come and outline the key novelties this year? One of the best things last year was to get the feedback from international guests who were dazzled by the quality of the projects. Then on the Spanish side, professionals were equally impressed by the top names in the international delegation. This year the list of international delegates will be even stronger, for instance with the presence of Christian Jeune from Cannes and Michael Stuetz from the Berlinale. The challenge for the first five editions is perhaps to be coherent with the size of our event, the type of projects and professionals invited. We want to maintain the same high quality, attention and care that goes into the selection and overall organisation. Then obviously as this is the second year, we're expanding a bit the scope of our activities, partnerships and ambitions. The event is growing but we still want it to be sustainable for the next editions. How many delegates will attend this year from how many territories? The numbers reflect the increased interest in our event. This year we have 730 accredited professionals, versus around 400 in 2024. It's been an exponential growth from last year. Then we had about 50 international guests in 2024 and this year we're hosting 70 people. From Spain, we're inviting around the same number, about 70 key decision-makers. So we have about 140 invited guests for the meetings. Countries represented (between 18-20) span from Spain to Canada, U.S., France, Romania, Estonia and Latin America. It was perhaps unintentional – based on the projects selected – but we will have a strong European and Latin American presence this year. With a more ambitious program, what type of budget do you have and can you comment on the significance of your new institutional partnerships? I won't detail our specific budget but it hasn't changed drastically. Our main key partners are the same: ECAM Foundation Comunidad de Madrid. Then Matadero, Film Madrid, Madrid Film Office, Cineteca, the rights collection agency Dama and AC/E, the international promotional body of Spanish cinema, are other partners. We're continuing our collaboration with Filmin, Rotterdam, Series Mania and have new strategic partnerships with Conecta Fiction & Entertainment and the key audiovisual agencies ACAU in Uruguay and Proimagenes in Colombia. For the ECAM school and Foundation, facilitating those collaborations are just natural to exchange talent and create a bridge between Europe and Latin America. We hope to announce new partnerships this fall. This year you've opened your Pitch sessions to international projects. What extra challenges did you meet in your selection process? Our main goal is to promote Spanish cinema internationally and attract international talent to work with Spain. We understand that presenting a selection, and making exciting international talents coexist with promising Spanish projects is a better way to promote their films. It's great to have Spain's Maria Herrera, Alba Esquinas and Elena Molina with Maryam Tafakory [from Iran], Francisca Alegría [from Chile] or Mihai Mincan [from Romania]. Opening to international projects was a challenge as we tried to attract distinctive voices and talents but we did! We are extremely happy with the selection and could easily have picked another 15 projects that couldn't make the cut. We had to make some difficult decisions. I'd like to add that in the short section, last year we had only six national projects. This year we have 11 projects – six from our own training program and five international shorts through new partnerships with Chile Shorts, Bogo Shorts in Colombia, La Femis in France, DISFF in Greece, and FAMU in the Czech Republic. How would you define the 2025 feature length slate in terms of themes, unique auteur-viewpoint and diversity? The selection covers a rich variety of narrative and aesthetic approaches, with a presence of comedies, genre and science fiction approaches, documentaries, and classic fiction works. The projects demonstrate a passion for challenging the boundaries of genres and storytelling, a strong commitment to creative risk and authorship. We love to see a lot of first and second films with super strong visions, that are backed by producers with certain experience, both national and international. I genuinely think it's a super exciting slate with new voices to discover. It is also a more diverse selection when it comes to representation both in the narrative and creators themselves, so, yes, it's a step forward. Something quite remarkable when we look at the Films to Come, is the fact that the 15 projects came out of three different selection processes, and when we ended up with the final list, we realised all were directed by women (with one co-direction). Could you comment on your industry talks and high-brow cycle of conversations? The industry talks targeting the 700+ accredited professionals, focus on the challenges in the audiovisual industry right now, and many sessions offer practical tools and tips, about financing, co-production promotion. Our goal is to strengthen Spanish cinema and we're happy to bring top speakers from Spain and the rest of the world. We're also glad to present the Nostradamus report to our audience, straight after Cannes. The report is key to look at where we're going, how each sector in the industry is integrating the challenges, both within and outside the sector. Then the three Conversations about The State of Things [in Spanish language] is a particularly beautiful strand that we've designed over several months with my colleague Brais Romero and Luis E. Parés from Cineteca Matadero. We tried to map out important topics that touch us as individuals, not only in the industry but as a society, via inspirational talks with filmmakers, writers, poets, musicians, philosophers. It's a beautiful mix of strong voices in Spain. We look forward to hearing their take our world today, the value of creating images. Then one angle to be tackled is nostalgia and its danger. The comfort and inherent creative laziness that goes with sticking to formulas, well know concepts – be it in literature or will be interesting also to hear Bertrand Bonello who masterfully has been avoiding nostalgia, its comfort and safety in his work. Another novelty this year is the new FINDE industry meeting about Financing, Investment and Independent Filmmaking, co-organised with Madrid Audiovisual Cluster. Could you summarise what it's about? This is an extension of ECAM's educational curriculum. We wanted to offer practical tools to hone the skills of our emerging talent in financing. We see producers surrounded by great talent and yet struggling to finance their projects. So hopefully this will be an illuminating session. We've designed this initiative with French producer based in Madrid Sophie Erbs and Teresa Azcona, director of Madrid Audiovisual Cluster. We see this is a pilot year and we will evaluate afterwards the program's formula. On a personal level, how does it feel to run the hottest new Spanish co-pro market? It feels soooo good. Last year, we had a blank canvas which needed to be painted. We didn't know if it would be abstract, or not. This year, we reaped the good seeds from the first edition, and our team is stronger. The whole is even more coherent because we had more time to design our program. But our focus is still to have a great time through a very friendly, focused professional event, with a high standard of projects and guests. 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