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As president-elect, Donald Trump has the right to name the people he wants in his Cabinet. Some of Trump’s nominations, such as Senator Marco Rubio to lead the State Department, are completely ordinary. A few are ideological red meat for Republicans. Others are gifts to Trump loyalists.

Four of these nominees, however, are dangerous to the security of the United States and to the well-being of its people: Pete Hegseth (Defense), Tulsi Gabbard (Office of the Director of National Intelligence), Matt Gaetz (Justice), and Robert F. Kennedy Jr. (Health and Human Services). The Senate must turn back these nominations, and do so en bloc.

The Gaetz and Kennedy nominations are apparently already in trouble, and more than enough has been written about them. Gaetz is an accused sexual predator (he has long denied the allegations); ironically, he is the least dangerous of this pack. Yes, as attorney general he would green-light every raving demand from MAGA world for investigations into Trump’s enemies, but in a strange blessing, he is also likely to be completely incompetent. The Department of Justice, as Trump himself learned during his first term, is packed to the rafters with very sharp lawyers who would almost certainly jam up any of Gaetz’s unconstitutional orders. Gaetz’s tenure at Justice would be a national humiliation and destructive to the rule of law, but it would also likely be very short.

The RFK Jr. nomination is, in a word, pathetic. Most of his views are little more than pure anti-science kookery, and if he is confirmed, Americans—and especially their children—will be in peril from this anti-vaccine crusader. But he would be a danger to the health of individual Americans (especially those who watch too much TV and spend too much time on the internet) rather than to the continued existence of the United States.

Which brings me to Gabbard and Hegseth.

Tulsi Gabbard, as I wrote last week, is unqualified for the job of DNI, but she is also a security risk: I have held security clearances for most of my adult life, and had I worked in any federal office next to her, I would have had no compunction about raising her as an “insider threat” because of her political views and her shady international connections. (As a member of Congress in 2017, she held meetings with the Syrian dictator Bashar al-Assad outside of U.S. government channels—an obvious problem for anyone seeking a senior role in national security.)

Gaetz, Kennedy, and Gabbard are terrible choices. The Hegseth nomination, however, is easily the most dangerous and irresponsible of all of Trump’s picks. (Gabbard is a significant hazard, but she would not have a gigantic army at her disposal, and she would not be involved with the control of nuclear weapons.) Like the other three in this group, Hegseth is shockingly unqualified for the job he’s been asked to take, but in this case, the Senate is faced with a proposal to place a TV talking head at the top of the Pentagon and insert him into the nuclear chain of command.

Hegseth has made personal choices that make him unfit to lead the DOD, including his extramarital affairs (which apparently helped tank his chances to lead the Department of Veterans Affairs in Trump’s first administration) and a payoff to a woman who claimed that he’d sexually assaulted her. He denies the assault allegation, but in any case, adultery is a criminal violation of the Uniform Code of Military Justice and can be a career-ending mistake for a member of the armed forces.

I will leave aside whether Hegseth’s tattoos identify him as a white supremacist. Hegseth denies the claim. But some of Hegseth’s ink is popular with extremists; that’s why one of his own military comrades reported him as an insider threat in the first place—and not, as Hegseth and some whining conservatives claim, because he is being persecuted as a Christian. I knew many people in federal service with patriotic tattoos. (I have one myself, and no, it’s none of your business where it is.) I am also a Christian who wears a cross—one that I had blessed in a church—every day. That’s not what any of this is about.

Hegseth’s defenders seem unable to understand that neither Hegseth nor anyone else has a right to be the secretary of defense: If the nominee made choices earlier in life that would now undermine his effectiveness in the job, then that’s his problem, not the Pentagon’s. But even if Hegseth were not an example of a sexist, MAGA-bro culture—his statements about women in the military are particularly noxious—the Senate is still faced with the problem that he’s utterly unqualified.

A former Army major, he has no serious background in national-security or defense issues beyond his military service. (And how that service ended is apparently now a matter of some dispute.) He has not worked anywhere in the defense world: not in any of its agencies, not with any of its industries, not with any of its workforce in any capacity. He has never managed anything of any significant size.

Not only would he be incapable of administering America’s largest government department, but he’d also be in a position of terrifying responsibility for which he is unprepared. Imagine an international crisis, perhaps only a year or two from now. President Trump is facing a situation that could be rife with danger to the United States and our allies—perhaps even one that involves nuclear threats. At this dire moment, Trump turns to …

Pete Hegseth and Tulsi Gabbard?

The Senate must do everything in its constitutional power to stop this. Trump won the election, but no president has an absolute right to his Cabinet nominations: The Constitution requires the Senate to consent to those nominations. Trump has already warned that if the Senate balks, he will subvert this process by using “recess appointments,” in effect a demand that the Senate take a walk and let Trump do whatever he wants—to consent, in other words, to autocracy.

Incoming Majority Leader John Thune and others who still might care about their duty to the nation have time to go to Trump, right now, and tell him that these four nominations are DOA. They could tell Trump that it is in his own interest—the only interest he recognizes—not to risk multiple defeats. And if the Senate folds and decides to take these up one at a time, Trump will wear them down, likely accepting that Gaetz must be a Succession-style “blood sacrifice,” in return for which Trump gets everyone else. For Thune—who, one assumes, does not wish to begin his tenure as a statelier version of Senator Tommy Tuberville, the MAGA obstructionist who held up military promotions for months—accepting such a deal would be a huge strategic error.

Whomever Trump nominates as replacements will likely be dangerous in their own way. But these four nominees have to be stopped—and right now.

Related:

The thing that binds Gabbard, Gaetz, and Hegseth to Trump The perverse logic of Trump’s nomination circus

Here are four new stories from The Atlantic:

He was the world’s longest-held death-row inmate. He was also innocent. How Trump could make Congress go away for a while Thomas Chatterton Williams: Is wokeness one big power grab? Europe braces for Trump.

Today’s News

President Joe Biden authorized Ukraine yesterday to use U.S.-supplied long-range missiles for strikes inside Russia, according to U.S. officials. Russia said today that the decision would escalate international tensions and add “fuel to the fire” of the war. Trump confirmed on Truth Social that his administration is planning to declare a national emergency and enlist the military to carry out a mass-deportation program targeting undocumented immigrants. Trump picked Brendan Carr, a member of the Federal Communications Commission and a Project 2025 contributor, to lead the FCC.

Dispatches

The Wonder Reader: Learning where famous musicians sleep and what they eat can feel like finally glimpsing the unknowable, Isabel Fattal writes.

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Evening Read

Justin Chung for The Atlantic

How Jimmy O. Yang Became a Main Character

By Shirley Li

Jimmy O. Yang had been trying to make it as an actor for years—cobbling together bit parts in network sitcoms, auditioning for nameless roles such as “Chinese Teenager #1”—when he was cast in a new HBO series. The show, Silicon Valley, was a comedy about a group of programmers at a Bay Area start-up incubator; his character, Jian-Yang, was an app developer who spoke in broken English.

It was a small guest role, but he saw it as an opportunity.

Read the full article.

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Photographs by Justin Chung

Jimmy O. Yang had been trying to make it as an actor for years—cobbling together bit parts in network sitcoms, auditioning for nameless roles such as “Chinese Teenager #1”—when he was cast in a new HBO series. The show, Silicon Valley, was a comedy about a group of programmers at a Bay Area start-up incubator; his character, Jian-Yang, was an app developer who spoke in broken English.

It was a small guest role, but he saw it as an opportunity. During his first day on set, although he had only two lines, he asked Mike Judge, one of the show’s creators, whether his character should speak with a Mandarin accent or a Cantonese one. Judge was stumped. “I just said, ‘Oh, well, which one’s more natural to you?’ ” Judge told me. Yang, who’d grown up in Hong Kong, worried that a Cantonese accent was too generic; American viewers might recognize it from Bruce Lee or Jackie Chan movies. Because Mandarin is more standard for official and professional contexts, it can sound more formal, and Yang thought this made sense for an ambitious immigrant like Jian-Yang. Judge told me that he now doesn’t remember which accent Yang chose; “I was just glad he was paying that much attention,” he said.

The show’s writers expanded Yang’s role, and he eventually became a series regular, reshaping his character into a sly villain whose befuddled exterior disguises an inner ruthlessness. To deepen his performance, Yang developed a mantra, which he would say to himself in Mandarin before every take: “Wŏ bù zhī dào,” or “I don’t know.” He drew this mantra from his own experience dealing with his parents. “Even when I know something, and they’re like, ‘Why is Netflix not working?,’ I’m like, ‘I don’t know.’ ” He grinned at me conspiratorially. “Because I just don’t care to fix it.” That’s how Jian-Yang operates too, Yang said: “I think Jian-Yang knows; he just doesn’t really give a shit.”

And yet, for many viewers, none of this character work mattered. As Silicon Valley grew in popularity, Jian-Yang became the subject of scorn for some Asian viewers and critics, who called out the show’s writers for peddling a caricature of an Asian immigrant with heavily accented, error-prone English. In 2017, a Wired review called him an example of “toxic Asian stereotypes.”

Yang found these reactions exhausting. “It’s like, wow, this is such a big deal for me, and I’m becoming, back in those days, one of the few Asians on TV,” he told me. “But you’re all going to hate on me?” He felt a familiar anguish. The only roles offered to him were goofy sidekicks and background parts, but even when he tried to make characters like Jian-Yang as rounded and complicated as possible, he felt he couldn’t win. “I didn’t understand the beef against Asian accents,” he said. He gets why Asian Americans are sensitive to such portrayals, given Hollywood’s long history of stereotyping, but some of the criticism, he said, felt “a little overblown and a little dumb.” “There’s a constant foreigner bit,” he explained, referring to the industry’s tendency to exoticize Asian characters. “But I was a foreigner.”

Despite the controversy around the character, Jian-Yang ultimately launched Yang’s career. In 2018, the year before Silicon Valley ended its run, he appeared in the romantic comedy Crazy Rich Asians, a box-office hit now considered a watershed moment for Asian cultural representation. This November, Yang is starring in Hulu’s Interior Chinatown, which feels like a different kind of milestone. Adapted from Charles Yu’s National Book Award–winning novel of the same name, the series tells the story of Willis Wu, a background actor on a generic police procedural set in an unnamed city’s Chinatown. For Yang, the role is more than a chance to be a leading man; it also uncannily mirrors his own life. Willis is stuck in small, clichéd parts, juggling Hollywood’s biases and his own ambition, trying to figure out who exactly he wants to be.

Top: Yang as Bernard in Crazy Rich Asians (2018). Bottom: As Jian-Yang in Silicon Valley (2019). (© Warner Bros. Pictures / Everett Collection; Ali Paige Goldstein / © HBO / Everett Collection)

When Yang first emigrated from Hong Kong to Los Angeles, at age 13, the move left him dazed. He was one of a handful of Chinese kids at his school, and he barely spoke English. “I was like, ‘Guys, you’re speaking way too fast; I can’t,’ ” he told me. After two years, his mother got a job in Shanghai and left the family behind to return to China, where she stayed for the next decade. Without her, Yang became even more adrift.

His father, meanwhile, embraced their new American life. He celebrated their arrival by buying a Pontiac Grand Am. “He thought it was so fucking cool because we always had, like, Honda Accords, in Hong Kong,” Yang told me. “Then he was like”—Yang launched into an impression of his dad, puffing out his chest, his voice going gravelly—“ ‘American six cylinder, baby! This is great!’ ”

Yang worked hard to assimilate to his new surroundings. In Hong Kong, he’d played competitive Ping-Pong and watched kung fu shows on TV. In Los Angeles, he became interested in basketball and football. He fell in love with American television—Bobby Lee on Mad TV, Ken Jeong on Live in Hollywood. He got into hip-hop and tried to build his identity around music, but still felt like he was faking it. “I wasn’t trying to not be Asian,” he said. “I was just trying to be either funnier or catch a football or something so I could fit in.”

Yang began creating what he now calls a “locker” in his mind, where he hid his former self away so he could “make space in my brain to remember American stuff.” He compartmentalized so successfully that he’s had “a weird memory lapse” about his pre-California childhood in Hong Kong.

When Yang arrived at UC San Diego in 2005, the school’s student body was 37 percent Asian, a higher percentage than any other ethnic group. After years of trying to fit in with his Los Angeles classmates, he found it disorienting to suddenly be one among many. “I’m like, I actually want to stand out,” he said. “I don’t want to be grouped in with all of the Asians.” He grew his hair long and started skateboarding and smoking weed, anything to avoid seeming like a stereotype. But he also worried about disappointing his parents, both of whom had practical jobs—his father was a financial adviser at Merrill Lynch, and his mother worked in retail—so he pursued an economics degree and interned at a financial-consulting firm.

Then, one summer night before his last year of college, he paid $5 on a whim to do five minutes of stand-up at an open-mic night in North Hollywood. Onstage, he found that joking about his identity somehow alleviated the strain of feeling like an outsider. “They didn’t know who I was. I wasn’t ‘Jimmy’; I was just the next comedian up, this guy who looks Asian,” he said. “They didn’t come to see me, so it’s almost like I have to address, like, ‘Hey, yeah, I know I’m Asian. This is my experience.’ ”

Yang was more than willing to lean into stereotypes. His early stand-up included an impression of an Asian guy trying to hit on a girl: “Let me holler at you! Come back; I’ll do your nails for you,” he’d say in an exaggerated accent. In another bit, he joked about the lack of Asians on The Maury Povich Show. “You never see some dude walking down the steps of shame and being like, ‘Look, Maury, look. I got small eye; he got big eye. That not my baby, Maury.’ ”

Yang had a relaxed, good-natured stage presence. But these bits were, as he put it, “hacky Asian stuff.” He was happy to confirm audiences’ biases if it made them laugh. Around that time, he started using the handle @FunnyAsianDude for his social-media accounts.

To make a living, he worked as a used-car salesman during the day and as a strip-club DJ at night. The latter “combined the salesmanship I learned in the used-car lot with the microphone skills I’d learned doing stand-up,” he told Conan O’Brien years later. Yang turned down an offer for a cushy finance job, against his father’s wishes, in favor of pursuing open-mic nights. He also began auditioning for TV shows and movies, going out for pretty much any casting call that would have him, as he wrote in his 2018 memoir: “Loud Japanese host,” “Weird Korean Jogger guy,” “Video Game addict.”

“You don’t want to be in a box, but at the same time, when you’re first starting, it’s easy to just be like, ‘Hey, I’m an Asian actor. Call me if you need an Asian actor,’ ” he said. Even after landing his guest role on Silicon Valley, he put his earnings into a used car he could drive for Uber, to make a little more cash.

Then, months after he finished filming the first season, in 2014, HBO offered him a contract to be a series regular. When he got the call, he was killing time on the trolley that rolls through the Grove, an outdoor shopping mall in Los Angeles. He rode the trolley back and forth in disbelief, feeling like “the gate’s opened,” like he was finally a “real player now in this industry.” He called his dad, who said, in Yang’s words: “Oh, okay, so you have an employment contract with HBO, which is a company. Good. Thank God.”

In person, Yang is warm and easygoing, with an approachable air. One afternoon this summer, we met for lunch at a Thai restaurant in L.A. As soon as he sat down, a woman leaned over and stopped him mid-sentence. “Are you the famous guy?” she asked.

“Probably not,” he said. She laughed and held up her phone for a selfie anyway.

Yang could have taken offense that the woman seemed to view him as just a vaguely familiar face; he wouldn’t have been the first Asian actor to be confused with another one. (In his 2020 comedy special on Amazon Prime, Good Deal, he joked about fans who approach him, looking anxious. Are you sure that’s not Ken Jeong? he imagines them wondering.) But when I brought up the incident the next time we met, over dim sum in Monterey Park, he laughed, unbothered. He’s accustomed to this particular kind of fame, to being “that guy I’ve seen before.” It’s a long way from where he started.

Since Yang began his career, in the early 2010s, opportunities for Asian actors have exploded—a surge that Yang attributes largely to the success of Crazy Rich Asians. In that movie, a young Chinese American woman goes to Singapore to meet her boyfriend’s family, and is thrown into the high-flying milieu of Asia’s ultra-wealthy. As the playboy Bernard, Yang found a desperate streak beneath his character’s bravado. When the film became a global hit in 2018, it was hailed as proof that Asian-led projects could find commercial success in Hollywood. In 2020, the Korean movie Parasite swept the Oscars; in 2023, Everything Everywhere All at Once, led by Yang’s Crazy Rich Asians co-star Michelle Yeoh, did the same. A study published by the University of Southern California’s Annenberg Inclusion Initiative found that the percentage of Asian characters with speaking parts in the top-grossing films each year climbed from roughly 3 percent in 2007 to nearly 16 percent in 2022. Asians were the only minority group to see such a big increase in that period.

At the same time, more Asian writers and directors were getting the opportunity to create their own work, which gave rise to a range of Asian characters who are delightfully eccentric but also specific and human. Now there are far fewer roles like the Jian-Yang of early Silicon Valley, and more roles like, say, Steven Yeun and Ali Wong’s deranged, obsessive duo in Beef, the Emmy-winning drama about a road-rage incident that escalates into a murderous feud. As Jeong, who also appeared in Crazy Rich Asians and has become a close friend of Yang’s, put it to me: “There’s more diversity in our diversity now.”

Justin Chung for The Atlantic

This doesn’t mean that choosing roles was suddenly easy for actors like Yang. Not long after Crazy Rich Asians, he got sent a script for a movie about William Hung, who’d become an early viral sensation after an awkward 2004 American Idol audition during which he gyrated and sang Ricky Martin’s “She Bangs” off-key. The writer wanted Yang to play Hung. It was a starring role in a potentially splashy biopic—but Yang turned it down. In June 2020, during an appearance on Joe Rogan’s podcast, he told Rogan that the script made him want to “fucking vomit”; Hung, he said, had “set us back 10 years.” In response, Hung posted a video addressed to Rogan and Yang. “I understand where you might be coming from, because you’re not the only person who believes that I portray Asian stereotypes,” Hung said. But, he added, “I believe everyone has a right to try something new without being judged or ridiculed.”

When I brought up his comments about Hung, Yang grimaced. His objection to the project, he told me, was not about Hung himself but rather about the way the script missed an opportunity to examine why he’d become famous and how his notoriety had affected the perception of Asian Americans, especially Asian men. “People made fun of him,” Yang said. “He was the butt of the joke, and every one of us was called ‘William Hung’ in high school for a couple years.” To Yang, the way American Idol portrayed Hung—how the show “threw him out there, and how America ganged up and laughed at him—that should be the story we’re telling.” Many Asian performers still find it hard to shake the fear that they’ll be turned into a punch line the way Hung was. “In hindsight,” Yang said of those 2020 comments, “I think that was my own frustration, my own insecurity.”

For Asian actors living through this cultural sea change, career choices can seem freighted with a new sense of responsibility and, occasionally, feelings of guilt. I spoke with Jeong about what is arguably his most well-known role, the Chinese gangster Mr. Chow in the 2009 comedy The Hangover. To Jeong, Mr. Chow was “puncturing the stereotype, because there are not a lot of stereotypes where, you know, an Asian man jumps out naked on Bradley Cooper’s shoulder and beats him up.” Still, some things about Mr. Chow now seem to give him pause, including his exaggerated accent. “I haven’t done an accent on live TV since,” he told me. “And there’s a reason for that.”

When I mentioned this to Yang, he shrugged and sighed. “Yeah, yeah, and that’s his battle,” he said. As much as Yang admires Jeong, his own view of what makes for “good” representation seems somewhat different. He doesn’t think there’s anything inherently wrong with an Asian character who has a thick accent, and he doesn’t think breaking down stereotypes requires playing a kind of character audiences have never seen before. He’d be interested in a role that seemed like an Asian cliché—say, a mathematician—if it surprised him. “Is there some more interesting angle about the man?” he said. “Or is it just super one-dimensional: ‘Here’s an Asian guy good at math’?” The question he asks himself about each character now is simple: “Is it human?”

Yang’s stand-up comedy has evolved, too. He still riffs on being Asian, but his material is more precise, and more personal. In his 2023 special for Amazon Prime, Guess How Much?, he jokes about the frugality of his mother, with whom he’s grown close again after their long separation. (She loves a bargain; he says her catchphrase is “Guess how much?”) He still plays with stereotypes, but now he has a knack for turning them on their head: Joking about the global rise of K-pop, he says, “I had a 15-year-old white kid come up to me, trying to explain the different members of BTS … I’m like, ‘Dude. They look the same to me.’ ”

Last year, Yang changed his Instagram handle from @FunnyAsianDude to just @jimmyoyang. “If I log on every day on Instagram, I see ‘Funny Asian Dude,’ I’m saying that to myself over and over again: I’m only the funny Asian,” he told me. “But I think I’m more than that. And I could be more.”

In Interior Chinatown, Willis lives in a crowded apartment complex and works as a waiter at a restaurant called the Golden Palace while dreaming of becoming a “Kung Fu Guy.” What Willis doesn’t fully understand is that he’s actually a background actor—otherwise known as a “Generic Asian Man”—in a procedural called Black & White, which is occasionally set in the Golden Palace. (The show within the show stars a Black male detective and a white female detective, who flirt and banter with unrelenting cop-show swagger.) Over time, Willis becomes entangled in the plot of Black & White, landing bigger and bigger roles, and gradually realizing that he’s been trapped inside a Hollywood stereotype all along.

The first episode opens with Willis witnessing an incident related to a crime that Black & White’s detectives are investigating. He starts to notice the strangeness of his circumstances and, with the help of a new-to-town cop, he searches for his long-lost brother, a Kung Fu Guy who may know more about what’s going on.

Yang as Willis in Interior Chinatown (2024) (Mike Taing / Disney)

Charles Yu’s novel is structured like a screenplay, with stage directions full of character descriptions and lyrical digressions. Yu, who is also an executive producer, told me that he wrote the book in part to untangle his anxieties about the way cultural depictions of Asian people have influenced his perception of himself. “Like, Is this face lovable? ” he said. “Do we deserve to be characters, let alone main characters?” He wanted the mechanics of Willis’s world to reflect Hollywood’s narrow logic about race.

The novel is so high-concept that adapting it for the screen was a gamble for Hulu. But the series cleverly uses the tools of television to render the layered realities of the book. The lights in the Golden Palace darken to indicate when Black & White is filming and Willis has entered that world. When Willis goes from being Interior Chinatown’s star to Black & White’s Generic Asian Man, the show challenges the audience to find him again, somewhere in the background of its shots.

And the book’s central metaphor has been made usefully concrete. On the day I visited the set of Interior Chinatown, Yang was filming a scene, invented for the show, that required him to repeatedly run into a pair of doors. The doors lead to the police precinct, the setting for Black & White’s highest-stakes subplots, where Generic Asian Men like Willis are not allowed. Willis is largely a dramatic role, but there are moments of physical comedy, and Yang was clearly having fun with this one. He improvised different takes: He tailgated a group of people, trying to sneak in behind them—blocked. He sidled up to the doors as if he could trick the inanimate wooden panels into staying ajar—blocked again. He took a running start, falling right before he reached the threshold.

When Yang first read the script for Interior Chinatown, he thought of all the ways in which he’d lived Willis Wu’s life. He’d looked for jobs as a background actor by calling Central Casting, the same agency that employs Willis; he’d even worked at a restaurant called Chop Suey in Los Angeles’s Little Tokyo. But Yang also thought that Interior Chinatown, with its self-awareness and depth, was a new kind of story.

He found a shirt that he’d worn in his 20s, when he still worked as a waiter, and smeared it with chili oil. He put on the scuffed-up Goodwill boots he’d worn back then, too. Then, in a hotel room, he auditioned for Willis over Zoom. In the scene Yang read, the reality-bending mechanics of Black & White are absent. Instead, Willis has a difficult conversation with his father, reluctantly admitting that he feels unmoored in life, and asking for advice, only to get stern replies.

At first, Yang had trouble evoking Willis’s emotions, and worried that he was forcing his tears. Then the episode’s director, Taika Waititi, stepped in. Waititi urged Yang to think about how Willis’s real motivation is to leave the conversation, but he stays out of some helpless instinct: to oblige his father, maybe, or because he’s holding on to the hope that he’ll hear what he wants to hear—that his father understands Willis’s angst. The note evoked a memory for Yang; as a teenager, he’d struggled to communicate his feelings to his father, because when he did, he found it hard to bottle those feelings back up again. “When I was younger,” he told me, “and I’d ask my dad about my mother—like, ‘Why did she move to Shanghai?’—I couldn’t help but start uncontrollably sobbing.”

Yang realized that Willis’s dynamic with his father was one he knew well: the push and pull between wanting to say everything and holding back, the emotional gulf that can stretch between an immigrant father and his more assimilated son. “I don’t know anyone who embodies better a bunch of the feelings and anxieties, and insecurities, that are part of why I wrote the book,” Yu told me of Yang.

If Yang’s relationship with his father was once more strained, lately that has changed. Richard Ouyang has been so encouraged by his son’s success that he recently started auditioning for roles himself. Ouyang told me that Yang now gives him professional advice: “Jimmy always asks me to be more serious about acting and take some classes,” Ouyang wrote by email. “Yet I think I am too old to learn any new tricks and prefer to be a Nepo Daddy!” In May, father and son did an ad for Toyota together, with Ouyang dryly complaining about his son’s driving skills as they navigate a snowy wilderness. “It was so cute—he was so stoked,” Yang said of his father. “He posted it all over his Chinese social media.”

Yang has also reconnected with the younger self he’d placed inside that mental locker back in 2000. His childhood comes rushing back at certain moments: when he smells stuffed fish cakes like the ones he used to eat with his mother at the shop near their Hong Kong apartment; when he’s speaking Cantonese; and, sometimes, when he performs. Playing Willis helped him rediscover, he said, “stuff that I’ve taken for granted, that I’ve forgotten”—the memories of who he was before.

This article appears in the December 2024 print edition with the headline “Against Type.”

The first thing you need to know about the writer Dorothy Allison, who died last week at 75, is that she could flirt you into a stupor.

As a scrawny, know-it-all stripper girl in 1990s San Francisco, I was in a position to know this. I’d often see her at leather-dyke gatherings, and we had a hugging acquaintance, so I was happy to spot her at a party at a mutual friend’s house. She glided toward me in the kitchen and said, “I see you’ve got a hickey there, Miss Lily.” Dorothy raised her eyebrows and dropped her voice—just a little. The overhead light glinted in her long copper bangs. “Maybe you’ll let me give you a hickey sometime.” A proud southern femme, she knew what her drawl could do, and she worked it like a strut. I stood there in that kitchen, a 22-year-old punk-ass bigmouth, dumbstruck and immobilized by her charm.

“Her friends loved Dorothy like hard rock candy,” the feminist writer Susie Bright wrote in a remembrance last week on Substack. To many scrappy queers and misfits in the Bay Area, Allison was a real-life friend, but to legions more of us, she was a true intimate on the page. Her words, sweet on the tongue, drew us to a body of work that managed to be both a delicacy and a necessity. Each devoted reader can cite the quote that broke them open. Though her essay collection Two or Three Things I Know for Sure would become my survival guide, the sentence that first grabbed me by the throat was Ruth Anne “Bone” Boatwright’s line from Allison’s debut novel, Bastard Out of Carolina: “Things come apart so easily when they have been held together with lies.”

Allison was born in Greenville, South Carolina, in 1949, to a 15-year-old mother who’d left school to work as a waitress and cook. After a childhood of privation marked by incest and violence at the hands of her stepfather, Allison became the first of her family to graduate from high school. Writing her way through various day jobs after college, she reckoned with class struggle, poverty, abuse, lesbianism, desire, illness, and the long-reaching legacy of trauma. Her poetry, fiction, and essays ranged across varied terrain, but they always sprang from a root of astonishing tenderness and almost unbearable clarity.

An outspoken member of the “ungrateful poor,” Allison knew that literature is medicine—as are community, pleasure, and even recreational flirting. She preached that a dogged commitment to honesty, however dark or knotty or elusive its pursuit, was essential for healing from the lacerating edge of life. Always quick to credit the women’s movement for giving her the tools to reenvision herself, Allison, through her work, her teaching, and her way of moving through space, transformed the cornball self-help concept of “radical embodiment” into a living gospel.

[Read: The great American novels]

One might say that she wrote from the heart, but it would be more accurate to say that she wrote from the hips. She eschewed such distancing techniques as overt sentimentality, the taxonomic graphing of oppressions, and theory-headed la-di-da. Instead, she went straight to skin and bone and viscera, sites of both injury and regeneration among the bodies of the queer, the poor, and the sick. Few other writers could so perfectly express the way that shame bathes you in a wave of prickling heat, or the hole-in-the-chest sorrow of loving a mother you couldn’t trust. She evoked delight just as vividly, describing the satisfaction of stirring ingredients together to make a simple gravy and the glinting, double-edged appeal of masochism. Most crucially, she articulated the way that societal hatred can fester in your gut, rotting you from the core, and that the only remedy strong enough to stanch its spread is plainly naming the truth of it.

She said as much: “Two or three things I know for sure, and one is that I’d rather go naked than wear the coat the world has made for me.”

It’s easy to dismiss so-called trauma plots after several decades of confessional literature, but in 1992, when Bastard Out of Carolina came out, none of us queer kids held any hope that we could see our complicated stories get published beyond the margins, let alone ushered into the literary canon. With Bastard, which fictionalized her abusive childhood, Allison made real money and a real impression, and she used that security to solidify her role as a teacher and an advocate of the historically unheard. She exploded any idea we had about what was possible. When she said, “The only magic we have is what we make in ourselves, the muscles we build up on the inside, the sense of belief we create from nothing,” we believed her.

I can’t help dwelling on the timing of Allison’s death, on the day of a presidential election that marked the ascension of J. D. Vance—as disingenuous a chronicler of the working class as there ever was. I remember what she wrote in her first nonfiction collection Skin: Talking About Sex, Class, and Literature:

The worst thing done to us in the name of a civilized society is to label the truth of our lives material outside the legitimate subject matter of serious writers … I need you to do more than survive. As writers, as revolutionaries, tell the truth, your truth in your own way. Do not buy into their system of censorship, imagining that if you drop this character or hide that emotion, you can slide through their blockades. Do not eat your heart out in the hope of pleasing them. The only hope you have, the only hope any of us has, is the remade life.

There are a few more things that you need to know for sure about what Allison meant to those she leaves behind.

Know that her deeply personal stories introduced us to ourselves. Know that she taught us to fight for liberation with all five senses, and to forge a weapon out of beauty. Know that when she broke through, she brought all of us with her. This rock-candy-hearted revolutionary, through her devotion to art and to truth, didn’t just pull us forward into new territory; she redrew the map.