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.”

After the 2016 elections, critics blamed Facebook for undermining American democracy. They believed that the app’s algorithmic News Feed pushed hyperpartisan content, outright fake news, and Russian-seeded disinformation to huge numbers of people. (The U.S. director of national intelligence agreed, and in January 2017 declassified a report that detailed Russia’s actions.) At first, the company’s executives dismissed these concerns—shortly after Donald Trump won the presidential election, Mark Zuckerberg said it was “pretty crazy” to think that fake news on Facebook had played a role—but they soon grew contrite. “Calling that crazy was dismissive and I regret it,” Zuckerberg would say 10 months later. Facebook had by then conceded that its own data did “not contradict” the intelligence report. Shortly thereafter, Adam Mosseri, the executive in charge of News Feed at the time, told this magazine that the company was launching a number of new initiatives “to stop the spread of misinformation, click-bait and other problematic content on Facebook.” He added: “We’ve learned things since the election, and we take our responsibility to protect the community of people who use Facebook seriously.”

Nowhere was the effort more apparent than in the launch of the company’s “war room” ahead of the 2018 midterms. Here, employees across departments would come together in front of a huge bank of computers to monitor Facebook for misinformation, fake news, threats of violence, and other crises. Numerous reporters were invited in at the time; The Verge, Wired, and The New York Times were among the outlets that ran access-driven stories about the effort. But the war room looked, to some, less like a solution and more like a mollifying stunt—a show put on for the press. And by 2020, with the rise of QAnon conspiracy theories and “Stop the Steal” groups, things did not seem generally better on Facebook.

[Read: What Facebook did to American democracy]

What is happening on Facebook now? On the eve of another chaotic election, journalists have found that highly deceptive political advertisements still run amok there, as do election-fraud conspiracy theories. The Times reported in September that the company, now called Meta, had fewer full-time employees working on election integrity and that Zuckerberg was no longer having weekly meetings with the lieutenants in charge of them. The paper also reported that Meta had replaced the war room with a less sharply defined “election operations center.”

When I reached out to Meta to ask about its plans, the company did not give many specific details. But Corey Chambliss, a Meta spokesperson focused on election preparedness, told me that the war room definitely still exists and that “election operations center” is just another of its names. He proved this with a video clip showing B-roll footage of a few dozen employees working in a conference room on Super Tuesday. The video had been shot in Meta’s Washington, D.C., office, but Chambliss impressed upon me that it could really be anywhere: The war room moves and exists in multiple places. “Wouldn’t want to over-emphasize the physical space as it’s sort of immaterial,” he wrote in an email.

It is clear that Meta wants to keep its name out of this election however much that is possible. It may marshal its considerable resources and massive content-moderation apparatus to enforce its policies against election interference, and it may “break the glass,” as it did in 2021, to take additional action if something as dramatic as January 6 happens again. At the same time, it won’t draw a lot of attention to those efforts or be very specific about them. Recent conversations I’ve had with a former policy lead at the company and academics who have worked with and studied Facebook, as well as Chambliss, made it clear that as a matter of policy, the company has done whatever it can to fly under the radar this election season—including Zuckerberg’s declining to endorse a candidate, as he has in previous presidential elections. When it comes to politics, Meta and Zuckerberg have decided that there is no winning. At this pivotal moment, it is simply doing less.

Meta’s war room may be real, but it is also just a symbol—its meaning has been haggled over for six years now, and its name doesn’t really matter. “People got very obsessed with the naming of this room,” Katie Harbath, a former public-policy director at Facebook who left the company in March 2021, told me. She disagreed with the idea that the room was ever a publicity stunt. “I spent a lot of time in that very smelly, windowless room,” she said. I wondered whether the war room—ambiguous in terms of both its accomplishments and its very existence—was the perfect way to understand the company’s approach to election chaos. I posed to Harbath that the conversation around the war room was really about the anxiety of not knowing what, precisely, Meta is doing behind closed doors to meet the challenges of the moment.

She agreed that part of the reason the room was created was to help people imagine content moderation. Its primary purpose was practical and logistical, she said, but it was “a way to give a visual representation of what the work looks like too.” That’s why, this year, the situation is so muddy. Meta doesn’t want you to think there is no war room, but it isn’t drawing attention to the war room. There was no press junket; there were no tours. There is no longer even a visual of the war room as a specific room in one place.

This is emblematic of Meta’s in-between approach this year. Meta has explicit rules against election misinformation on its platforms; these include a policy against content that attempts to deceive people about where and how to vote. The rules do not, as written, include false claims about election results (although such claims are prohibited in paid ads). Posts about the Big Lie—the false claim that the 2020 presidential election was stolen—were initially moderated with fact-checking labels, but these were scaled back dramatically before the 2022 midterms, purportedly because users disliked them. The company also made a significant policy update this year to clarify that it would require labels on AI-generated content (a change made after its Oversight Board criticized its previous manipulated-media policy as “incoherent”). But tons of unlabeled generative-AI slop still flows without consequence on Facebook.

[Read: “History will not judge us kindly”]

In recent years, Meta has also attempted to de-prioritize political content of all kinds in its various feeds. “As we’ve said for years, people have told us they want to see less politics overall while still being able to engage with political content on our platforms if they want,” Chambliss told me. “That’s exactly what we’ve been doing.” When I emailed to ask questions about the company’s election plans, Chambliss initially responded by linking me to a short blog post that Meta put out 11 months ago, and attaching a broadly circulated fact sheet, which included such vague figures as “$20 billion invested in teams and technology in this area since 2016.” This information is next-to-impossible for a member of the public to make sense of—how is anyone supposed to know what $20 billion can buy?

In some respects, Meta’s reticence is just part of a broader cultural shift. Content moderation has become politically charged in recent years. Many high-profile misinformation and disinformation research projects born in the aftermath of the January 6 insurrection have shut down or shrunk. (When the Stanford Internet Observatory, an organization that published regular reports on election integrity and misinformation, shut down, right-wing bloggers celebrated the end of its “reign of censorship.”) The Biden administration experimented in 2022 with creating a Disinformation Governance Board, but quickly abandoned the plan after it drew a firestorm from the right—whose pundits and influencers portrayed the proposal as one for a totalitarian “Ministry of Truth.” The academic who had been tasked with leading it was targeted so intensely that she resigned.

“Meta has definitely been quieter,” Harbath said. “They’re not sticking their heads out there with public announcements.” This is partly because Zuckerberg has become personally exasperated with politics, she speculated. She added that it is also the result of the response the company got in 2020—accusations from Democrats of doing too little, accusations from Republicans of doing far too much. The far right was, for a while, fixated on the idea that Zuckerberg had personally rigged the presidential election in favor of Joe Biden and that he frequently bowed to Orwellian pressure from the Biden administration afterward. In recent months, Zuckerberg has been oddly conciliatory about this position; in August, he wrote what amounted to an apology letter to Representative Jim Jordan of Ohio, saying that Meta had overdone it with its efforts to curtail COVID-19 misinformation and that it had erred by intervening to minimize the spread of the salacious news story about Hunter Biden and his misplaced laptop.  

Zuckerberg and his wife, Priscilla Chan, used to donate large sums of money to nonpartisan election infrastructure through their philanthropic foundation. They haven’t done so this election cycle, seeking to avoid a repeat of the controversy ginned up by Republicans the last time. This had not been enough to satisfy Trump, though, and he recently threatened to put Zuckerberg in prison for the rest of his life if he makes any political missteps—which may, of course, be one of the factors Zuckerberg is considering in choosing to stay silent.

Other circumstances have changed dramatically since 2020, too. Just before that election, the sitting president was pushing conspiracy theories about the election, about various groups of his own constituents, and about a pandemic that had already killed hundreds of thousands of Americans. He was still using Facebook, as were the adherents of QAnon, the violent conspiracy theory that positioned him as a redeeming godlike figure. After the 2020 election, Meta said publicly that Facebook would no longer recommend political or civic groups for users to join—clearly in response to the criticism that the site’s own recommendations guided people into “Stop the Steal” groups. And though Facebook banned Trump himself for using the platform to incite violence on January 6, the platform reinstated his account once it became clear that he would again be running for president

This election won’t be like the previous one. QAnon simply isn’t as present in the general culture, in part because of actions that Meta and other platforms took in 2020 and 2021. More will happen on other platforms this year, in more private spaces, such as Telegram groups. And this year’s “Stop the Steal” movement will likely need less help from Facebook to build momentum: YouTube and Trump’s own social platform, Truth Social, are highly effective for this purpose. Election denial has also been galvanized from the top by right-wing influencers and media personalities including Elon Musk, who has turned X into the perfect platform for spreading conspiracy theories about voter fraud. He pushes them himself all the time.

In many ways, understanding Facebook’s relevance is harder than ever. A recent survey from the Pew Research Center found that 33 percent of U.S. adults say they “regularly” get news from the platform. But Meta has limited access to data for both journalists and academics in the past two years. After the 2020 election, the company partnered with academics for a huge research project to sort out what happened and to examine Facebook’s broader role in American politics. It was cited when Zuckerberg was pressed to answer for Facebook’s role in the organization of the “Stop the Steal” movement and January 6: “We believe that independent researchers and our democratically elected officials are best positioned to complete an objective review of these events,” he said at the time. That project is coming to an end, some of the researchers involved told me, and Chabliss confirmed.

The first big release of research papers produced through the partnership, which gave researchers an unprecedented degree of access to platform data, came last summer. Still more papers will continue to be published as they pass peer review and are accepted to scientific journals—one paper in its final stages will deal with the diffusion of misinformation—but all of these studies were conducted using data from 2020 and 2021. No new data have or will be provided to these researchers.

When I asked Chambliss about the end of the partnership, he emphasized that no other platform had bothered to do as robust of a research project. However, he wouldn’t say exactly why it was coming to an end. “It’s a little frustrating that such a massive and unprecedented undertaking that literally no other platform has done is put to us as a question of ‘why not repeat this?’ vs asking peer companies why they haven't come close to making similar commitments for past or current elections,” he wrote in an email.

The company also shut down the data-analysis tool CrowdTangle—used widely by researchers and by journalists—earlier this year. It touts new tools that have been made available to researchers, but academics scoff at the claim that they approximate anything like real access to live and robust information. Without Meta’s cooperation, it becomes much harder for academics to effectively monitor what happens on its platforms.

I recently spoke with Kathleen Carley, a professor at Carnegie Mellon’s School of Computer Science, about research she conducted from 2020 to 2022 on the rise of “pink slime,” a type of mass-produced misinformation designed to look like the product of local newspapers and to be shared on social media. Repeating that type of study for the 2024 election would cost half a million dollars, she estimated, because researchers now have to pay if they want broad data access. From her observations and the more targeted, “surgical” data pulls that her team has been able to do this year, pink-slime sites are far more concentrated in swing states than they had been previously, while conspiracy theories were spreading just as easily as ever. But these are observations; they’re not a real monitoring effort, which would be too costly.

“Monitoring implies that we’re doing consistent data crawls and have wide-open access to data,” she told me, “which we do not.” This time around, nobody will.