For a brief moment earlier this month, I thought an old acquaintance had passed away. I was still groggy one morning when I checked my phone to find a notification delivering the news. “Obituary shared,” the message bluntly said, followed by his name. But when I opened my phone, I learned that he was very much still alive. Apple’s latest software update was to blame: A new feature that uses AI to summarize iPhone notifications had distorted the original text message. It wasn’t my acquaintance who had died, but a relative of his. That’s whose obituary I had received.

These notification summaries are perhaps the most visible part of Apple Intelligence, the company’s long-awaited suite of AI features, which officially began to roll out last month. (It’s compatible with only certain devices.) We are living in push-notification hell, and Apple Intelligence promises to collapse the incessant stream of notifications into pithy recaps. Instead of setting your iPhone aside while you shower and returning to nine texts, four emails, and two calendar alerts, you can now return to a few brief Apple Intelligence summaries.

The trouble is that Apple Intelligence doesn’t seem to be very … intelligent. Ominous summaries of people’s Ring-doorbell alerts have gone viral: “Multiple people at your Front Yard,” the feature notified one user. “Package is 8 stops away, delivered, and will be delivered tomorrow,” an Amazon alert confusingly explained. And sliding into someone’s DMs hits different when Instagram notifications are summarized as “Multiple likes and flirtatious comments.” But Apple Intelligence appears to especially struggle with text messages. Sometimes the text summaries are alarmingly inaccurate, as with the false obituary I received. But even when they are technically right, the AI summaries still feel wrong. “Expresses love and encouragement,” one AI notification I recently received crudely announced, compressing a thoughtfully written paragraph from a loved one. What’s the point of a notification like that? Texting—whether on iMessage, WhatsApp, or Signal—is a deeply intimate medium, infused with personality and character. By strip-mining messages into bland, lifeless summaries, Apple seems to be misunderstanding what makes texting so special in the first place.

Perhaps it was inevitable that AI summaries would come for push notifications. Summarization is AI’s killer feature and tech companies seem intent on applying it to just about everything. The list of things that AI is summarizing might require a summary of its own: emails and Zoom calls and Facebook comments and YouTube videos and Amazon reviews and podcasts and books and medical records and full seasons of TV shows. In many cases, this summarization is helpful—for instance, in streamlining meeting notes.

But where is the line? Concision, when applied to already concise texts, sucks away what little context there was to begin with. In some cases, the end result is harmful. The technology seems to have something of a death problem. Across multiple cases, the feature appears bewilderingly eager to falsely suggest that people are dead. In one case, a user reported that a text from his mother reading “That hike almost killed me!” had been turned into “Attempted suicide, but recovered.”

But mostly, AI summaries lead to silly outcomes. “Inflatable costumes and animatronic zombies overwhelming; will address questions later,” read the AI summary of a colleague’s message on Halloween. Texts rich with emotional content read like a lazy therapist’s patient files. “Expressing sadness and worry,” one recent summary said. “Upset about something,” declared another. AI is unsurprisingly awful with breakup texts (“No longer in relationship; wants belongings from the apartment”). When it comes to punctuation, the summaries read like they were written by a high schooler who just discovered semicolons and now overzealously inserts; them; literally; everywhere. Even Apple admits that the language used in notification summaries can be clinical.

The technology is at its absolute worst when it tries to summarize group chats. It’s one thing to condense three or four messages from a single friend; it’s another to reduce an extended series of texts from multiple people into a one-sentence notification. “Rude comments exchanged,” read the summary of one user’s family group chat. When my friends and I were planning a dinner earlier this month, my phone collapsed a series of messages coordinating our meal into “Takeout, ramen, at 6:30pm preferred.” Informative, I guess, but the typical back-and-forth of where to eat (one friend had suggested sushi) and timing (the other was aiming for an early night) was erased.

Beyond the content, much of the delight of text messaging comes from the distinctiveness of the individual voices of the people we are talking to. Some ppl txt like dis. others text in all lowercase and no punctuation. There are lol friends and LOL friends. My dad is infamous for sending essay-length messages. When I text a friend who lives across the country asking about her recent date, I am not looking purely for informational content (“Night considered good,” as Apple might summarize); rather, I want to hear the date described in her voice (“Was amaze so fun we had lovely time”). As the MIT professor Sherry Turkle has written, “When we are in human conversation, we often care less about the information an utterance transfers than its tone and emotional intent.” When texts are fed through the AI-summarization machine, each distinct voice is bludgeoned into monotony.

For a company that prides itself on perfection, the failures of Apple’s notification summaries feel distinctly un-Apple. Since ChatGPT’s release, as technology companies have raced to position themselves as players in the AI arms race, the company has remained notably quiet. It’s hard not to wonder if Apple, after falling behind, is now playing catch-up. Still, the notification summaries will likely improve. For now, users have to opt in to the AI-summary feature (it’s still in beta), and Apple has said that it will continue to polish the notifications based on user feedback. The feature is already spreading. Samsung is reportedly working on integrating similar notification summaries for its Galaxy phones.

With the social internet in crisis, text messages—and especially group chats—have filled a crucial void. In a sense, texting is the purest form of a social network, a rare oasis of genuine online connection. Unlike platforms such as TikTok and Instagram, where algorithmic feeds warp how we communicate, basic messaging apps offer a more unfiltered way to hang out digitally. But with the introduction of notification summaries that strive to optimize our messages for maximum efficiency, the walls are slowly crumbling. Soon, the algorithmic takeover may be complete.

A person who is “on the couch” is known to be in therapy, but most therapists these days don’t ask their clients to lie down. The first time mine did, I resisted. I didn’t want to be on display or unable to see her reactions. Plus, the idea seemed antiquated. Sigmund Freud was inspired to use the couch more than a century after observing dramatic hypnotherapy demonstrations by his teacher Jean-Martin Charcot. In psychoanalysis, Freud thought a therapist being out of view would help people access emotions or memories that might be repressed. (He also said that he could not “put up with being stared at by other people for eight hours a day.”)

Many of Freud’s ideas about the unconscious haven’t held up, but he may have been onto something with the couch, as I discovered when I eventually followed my therapist’s suggestion. The couch might not be for everyone, but it could be worth a try.

Today, therapists’ offices still almost always have a couch. For his book, In the Shadow of Freud’s Couch, Mark Gerald, a psychologist trained in psychoanalysis, took portraits of therapists in their offices, and “it was a rare room that did not have a couch,” he told me. “Somebody once mentioned they actually never used the couch with their patients, but if they didn’t have a couch, they wouldn’t feel like a psychoanalyst.”

Despite the ubiquity of the therapist’s couch, research on instances when it is and isn’t helpful is limited. Some patients in case studies report that they’ve missed seeing their therapists’ face when they lie down, while others have used the couch to avoid direct face-to-face communication. Even Freud wasn’t always strict about the couch. He also took walks with his patients; he famously analyzed the composer Gustav Mahler during a four-hour walk around Leiden.

But for me—and, I suspect, many others—occasionally lying down might provide some relief from the social aspects of talking with a therapist.The relationship between a therapist and a client won’t fully disappear, and that dynamic can be useful to examine in therapy too. Yet many therapy clients place too much emphasis on interpersonal dynamics. On social media, people make jokes about how much they want to get an A+ in therapy or make a therapist laugh; I’ve felt the same pressures myself. That stress could be reduced when you’re lying down and physically incapable of scanning your therapist’s face for signs of approval or displeasure. And in a time when many people have switched to teletherapy, staring at your therapist’s face (or your own) over Zoom can feel like a work meeting gone wrong.

On a very simplistic level, the couch offers a change in perspective—literally. The ancient Greeks and Romans reclined during banquets, which created an atmosphere of comfort and intimacy, says Nathan Kravis, a psychiatrist and historian of psychiatry at Weill Cornell Medical College who’s also the author of On the Couch. In the modern world, lying down signifies that the conversation you’re about to have in therapy is a different kind of interaction than those you have with family or friends. It’s a time to confront difficult thoughts, admit shortcomings, or explore desires without the relational obligations to those we know in our “real” life. “Its strangeness is part of the power,” Kravis told me. “It really has no parallel anywhere else in our social world.”

Lying down may also better satisfy people’s hunger for a more creative and humanistic form of therapy. Over the past few years, interest in psychoanalysis has made a dramatic comeback, though the approach still makes up a minority of therapy sessions. Other therapeutic methods, such as cognitive behavioral therapy, aim to change thoughts and behaviors that aren’t working for you; psychoanalysis, by contrast, focuses on self-exploration. I did CBT for years, and it’s very effective at solving problems. Yet something about a therapeutic practice that’s not as goal-oriented can be healing. When I started to lie down, I felt that I was choosing to make space for reflection, grief, processing, and developing intimacy with my own mind in a world where such acts are not usually prioritized.

Lying down for therapy sessions could make a practice that’s costly in both time and money feel even more indulgent, and I’m sure that some people simply wouldn’t like it. But it’s available to everyone to try at least once. Lying down is a technique, not an end goal, Ahron Friedberg, a licensed psychoanalyst and board-certified psychiatrist, told me. It could be a way of cultivating comfort, intimacy, and reflection, or speaking in a manner that you’re not used to—to yourself or to a therapist.

[Read: Plenty of people could quit therapy right now]

In Gerald’s office, he provides choices. There’s a chair directly across from where he sits. There’s a couch, recently replaced because the original became saggy from years of use. Some of Gerald’s patients always lie down; others save it for when they’re feeling overwhelmed. One patient usually sits up but will curl up into a ball on the couch when she’s going through a difficult time. Kravis said he talks with a new client face-to-face, then gives them the option of lying down after a session or two. “It’s not mandatory,” he said. “You’re not Velcroed to the couch.”

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.”

Photographs by Jeff Brown

Until a couple of years ago, Lucy Calkins was, to many American teachers and parents, a minor deity. Thousands of U.S. schools used her curriculum, called Units of Study, to teach children to read and write. Two decades ago, her guiding principles—that children learn best when they love reading, and that teachers should try to inspire that love—became a centerpiece of the curriculum in New York City’s public schools. Her approach spread through an institute she founded at Columbia University’s Teachers College, and traveled further still via teaching materials from her publisher. Many teachers don’t refer to Units of Study by name. They simply say they are “teaching Lucy.”

But now, at the age of 72, Calkins faces the destruction of everything she has worked for. A 2020 report by a nonprofit described Units of Study as “beautifully crafted” but “unlikely to lead to literacy success for all of America’s public schoolchildren.” The criticism became impossible to ignore two years later, when the American Public Media podcast Sold a Story: How Teaching Kids to Read Went So Wrong accused Calkins of being one of the reasons so many American children struggle to read. (The National Assessment of Educational Progress—a test administered by the Department of Education—found in 2022 that roughly one-third of fourth and eighth graders are unable to read at the “basic” level for their age.)

In Sold a Story, the reporter Emily Hanford argued that teachers had fallen for a single, unscientific idea—and that its persistence was holding back American literacy. The idea was that “beginning readers don’t have to sound out words.” That meant teachers were no longer encouraging early learners to use phonics to decode a new word—to say cuh-ah-tuh for “cat,” and so on. Instead, children were expected to figure out the word from the first letter, context clues, or nearby illustrations. But this “cueing” system was not working for large numbers of children, leaving them floundering and frustrated. The result was a reading crisis in America.

The podcast said that “a company and four of its top authors” had sold this “wrong idea” to teachers and politicians. The company was the educational publisher Heinemann, and the authors included the New Zealander Marie Clay, the American duo Irene Fountas and Gay Su Pinnell, and Calkins. The podcast devoted an entire episode, “The Superstar,” to Calkins. In it, Hanford wondered if Calkins was wedded to a “romantic” notion of literacy, where children would fall in love with books and would then somehow, magically, learn to read. Calkins could not see that her system failed poorer children, Hanford argued, because she was “influenced by privilege”; she had written, for instance, that children might learn about the alphabet by picking out letters from their surroundings, such as “the monogram letters on their bath towels.”

In Hanford’s view, it was no surprise if Calkins’s method worked fine for wealthier kids, many of whom arrive at school already starting to read. If they struggled, they could always turn to private tutors, who might give the phonics lessons that their schools were neglecting to provide. But kids without access to private tutors needed to be drilled in phonics, Hanford argued. She backed up her claims by referencing neurological research into how children learn to read—gesturing to a body of evidence known as “the science of reading.” That research demonstrated the importance of regular, explicit phonics instruction, she said, and ran contrary to how American reading teachers were being trained.

Since the podcast aired, “teaching Lucy” has fallen out of fashion. Calkins’s critics say that her refusal to acknowledge the importance of phonics has tainted not just Units of Study—a reading and writing program that stretches up to eighth grade—but her entire educational philosophy, known as “balanced literacy.” Forty states and the District of Columbia have passed laws or implemented policies promoting the science of reading in the past decade, according to Education Week, and publishers are racing to adjust their offerings to embrace that philosophy.

Somehow, the wider debate over how to teach reading has become a referendum on Calkins herself. In September 2023, Teachers College announced that it would dissolve the reading-and-writing-education center that she had founded there. Anti-Lucy sentiment has proliferated, particularly in the city that once championed her methods: Last year, David Banks, then the chancellor of New York City public schools, likened educators who used balanced literacy to lemmings: “We all march right off the side of the mountain,” he said. The New Yorker has described Calkins’s approach as “literacy by vibes,” and in an editorial, the New York Post described her initiative as “a disaster” that had been “imposed on generations of American children.” The headline declared that it had “Ruined Countless Lives.” When the celebrated Harvard cognitive psychologist Steven Pinker shared an article about Calkins on X, he bemoaned “the scandal of ed schools that promote reading quackery.” Queen Lucy has been dethroned.

“I mean, I can say it—it was a little bit like 9/11,” Calkins told me when we spoke at her home this summer. On that day in 2001, she had been driving into New York City, and “literally, I was on the West Side Highway and I saw the plane crash into the tower. Your mind can’t even comprehend what’s happening.” Two decades later, the suggestion that she had harmed children’s learning felt like the same kind of gut punch.

Calkins now concedes that some of the problems identified in Sold a Story were real. But she says that she had followed the research, and was trying to rectify issues even before the podcast debuted: She released her first dedicated phonics units in 2018, and later published a series of “decodable books”—simplified stories that students can easily sound out. Still, she has not managed to satisfy her critics, and on the third day we spent together, she admitted to feeling despondent. “What surprises me is that I feel as if I’ve done it all,” she told me. (Heinemann, Calkins’s publisher, has claimed that the Sold a Story podcast “radically oversimplifies and misrepresents complex literacy issues.”)

The backlash against Calkins strikes some onlookers, even those who are not paid-up Lucy partisans, as unfair. “She wouldn’t have been my choice for the picture on the ‘wanted’ poster,” James Cunningham, a professor emeritus of literacy studies at the University of North Carolina at Chapel Hill, told me. Indeed, over the course of several days spent with Calkins, and many more hours talking with people on all sides of this debate, I came to see her downfall as part of a larger story about the competing currents in American education and the universal desire for an easy, off-the-shelf solution to the country’s reading problems.

The question now is whether Calkins is so much a part of the problem that she cannot be part of the solution. “I’m going to figure this out,” she remembered thinking. “And I’m going to clarify it or I’m going to write some more or speak or do something or, or—fix it.” But can she? Can anyone?

On the last day of the school year in Oceanside, a well-to-do town on Long Island, everyone was just delighted to see Lucy Calkins. The young Yale-educated principal of Fulton Avenue School 8, Frank Zangari, greeted her warmly, and at the end of one lesson, a teacher asked for a selfie.

The lessons I saw stressed the importance of self-expression and empathy with other viewpoints; a group of sixth graders told me about the books they had read that year, which explored being poor in India and growing up Black in 1960s America. In every class, I watched Calkins speak to children with a mixture of intense attention and straightforward challenge; she got down on the floor with a group learning about orcas and frogs and peppered them with questions about how animals breathe. “Could you talk a minute about the writer’s craft?” she asked the sixth graders studying poetry. “Be more specific. Give examples,” she told a fourth grader struggling to write a memoir.

With her slim frame, brown bob, and no-nonsense affect, she reminded me of Nancy Pelosi. “I can’t retire; I don’t have any hobbies,” I overheard her saying to someone later.

School 8 showed the strengths of Calkins’s approach—which is presumably why she had suggested we visit it together. But it also hinted at the downsides. For generations in American public education, there has been a push and pull between two broad camps—one in which teachers are encouraged to directly impart skills and information, and a more progressive one in which children are thought to learn best through firsthand experience. When it comes to reading, the latter approach dominates universities’ education programs and resonates with many teachers; helping children see themselves as readers and writers feels more emotionally satisfying than drilling them on diphthongs and trigraphs.

This tension between the traditionalists and the progressives runs through decades of wrangling over standardized tests and through most of the major curricular controversies in recent memory. Longtime educators tick off the various flash points like Civil War battlefields: outcome-based education, No Child Left Behind, the Common Core. Every time, the pendulum went one way and then the other. “I started teaching elementary school in 1964,” says P. David Pearson, a former dean at the Berkeley School of Education, in California. “And then I went to grad school in, like, ’67, and there’s been a back-to-the-basics swing about every 10 years in the U.S., consistently.”

The progressives’ primary insight is that lessons focused on repetitive instruction and simplified text extracts can be boring for students and teachers alike, and that many children respond more enthusiastically to discovering their own interests. “We’re talking about an approach that treats kids as competent, intellectual meaning makers, versus kids who just need to learn the code,” Maren Aukerman, a professor at the University of Calgary, told me. But opponents see that approach as nebulous and undirected.

My time at School 8 was clearly intended to demonstrate that Units of Study is not hippie nonsense, but a rigorous curriculum that can succeed with the right teachers. “There’s no question in my mind that the philosophy works, but in order to implement it, it takes a lot of work,” Phyllis Harrington, the district superintendent, told me.

School 8 is a happy school with great results. However, while the school uses Calkins’s writing units for all grades, it uses her reading units only from the third grade on. For first and second grades, the school uses Fundations, which is marketed as “a proven approach to Structured Literacy that is aligned with the science of reading.” In other words, it’s a phonics program.

Calkins’s upbringing was financially comfortable but psychologically tough. Both of her parents were doctors, and her father eventually chaired the department of medicine at the University at Buffalo. Calkins’s mother was “the most important, wonderful person in my life, but really brutal,” she told me. If a bed wasn’t made, her mother ripped off the sheets. If a coat wasn’t hung up, her mother dropped it into the basement. When the young Lucy bit her fingernails, her mother tied dancing gloves onto her hands. When she scratched the mosquito bites on her legs, her mother made her wear thick pantyhose at the height of summer.

The nine Calkins children raised sheep and chickens themselves. Her memories of childhood are of horseback riding in the cold, endless hand-me-downs, and little tolerance for bad behavior.

That is why, Calkins told me, “nothing that Emily Hanford has said grates on me more than the damn monogrammed towels.” But she knows that the charge of being privileged and out of touch has stuck. Her friends had warned her about letting me into her home in Dobbs Ferry, a pretty suburb of New York, and I could see why. Her house is idyllic—at the end of a long private drive, shaded by old trees, with a grand piano in the hallway and a Maine-coon cat patrolling the wooden floors. Calkins has profited handsomely from textbook sales and training fees, and in the eyes of some people, that is suspicious. (“Money is the last thing I ever think about,” she told me.)

She became interested in reading and writing because she babysat for the children of the literacy pioneer Donald Graves, whose philosophy can be summarized by one of his most widely cited phrases: “Children want to write.” Even at a young age, she believed in exhaustively prepared fun. “I would plan a bagful of things I would bring over there; I was the best babysitter you could ever have,” she said. “We would do crafts projects, and drama, you know, and I would keep the kids busy all day.”

When Calkins was 14, Graves sent her to be a counselor at a summer camp in rural Maine. She remembers two kids in particular, Sophie and Charlie. Sophie was “so tough and surly, and a kind of overweight, insecure, tough kid,” but she opened up when Calkins took her horseback riding and then asked her to write about it. Charlie loved airplanes, and so she asked him to write about those. The experience cemented her lifelong belief that children should read and write as a form of self-expression.

After graduating from Williams College in 1973, she enrolled in a program in Connecticut that trained teachers to work in disadvantaged districts. She read everything about teaching methods she could find, and traveled to England, where a progressive education revolution was in full swing.

Calkins returned to America determined to spread this empowering philosophy. She earned a doctorate at NYU, and, in 1986, published a book called The Art of Teaching Writing. Later, she expanded her purview to reading instruction.

At the time, the zeitgeist favored an approach known as “whole language.” This advocated independent reading of full books and suggested that children should identify words from context clues rather than arduously sounding them out. Progressives loved it, because it emphasized playfulness and agency. But in practice, whole language had obvious flaws: Some children do appear to pick up reading easily, but many benefit from focused, direct instruction.

This approach influenced Calkins as she developed her teaching philosophy. “Lucy Calkins sides, in most particulars, with the proponents of ‘whole language,’ ” The New York Times reported in 1997. Her heavyweight 2001 book, The Art of Teaching Reading, has only a single chapter on phonics in primary grades; it does note, however, that “researchers emphasize how important it is for children to develop phonemic awareness in kindergarten.”

The author Natalie Wexler has described Calkins’s resulting approach, balanced literacy, as an attempt to create a “peace treaty” in the reading wars: Phonics, yes, if you must, but also writing workshops and independent reading with commercial children’s books, rather than the stuffier grade-level decodable texts and approved extracts. (Defenders of the former method argue that using full books is more cost-efficient, because they can be bought cheaply and used by multiple students.) “If we make our children believe that reading has more to do with matching letters and sounds than with developing relationships with characters like Babar, Madeline, Charlotte, and Ramona,” Calkins wrote, “we do more harm than good.”

Sentences like that are why critics saw balanced literacy as a branding exercise designed to rehabilitate old methods. “It was a strategic rebadging of whole language,” Pamela Snow, a cognitive-psychology professor at La Trobe University, in Australia, told me. Even many of Calkins’s defenders concede that she was too slow to embrace phonics as the evidence for its effectiveness grew. “I think she should have reacted earlier,” Pearson, the former Berkeley dean, told me, but he added: “Once she changed, they were still beating her for what she did eight years ago, not what she was doing last month.”

For the first decades of her career, Calkins was an influential thinker among progressive educators, writing books for teachers. In 2003, though, Joel Klein, then the chancellor of the New York City public schools, suddenly mandated her workshop approach in virtually all of the city’s elementary schools, alongside a separate, much smaller, phonics program. An article in the Times suggested that some saw Klein as “an unwitting captive of the city’s liberal consensus,” but Klein brushed aside the criticisms of balanced literacy. “I don’t believe curriculums are the key to education,” he said. “I believe teachers are.” Now everybody in the city’s public schools would be “teaching Lucy.”

As other districts followed New York’s lead, Units of Study became one of the most popular curricula in the United States. This led, inevitably, to backlash. A philosophy had become a product—an extremely popular and financially successful one. “Once upon a time there was a thoughtful educator who raised some interesting questions about how children were traditionally taught to read and write, and proposed some innovative changes,” the author Barbara Feinberg wrote in 2007. “But as she became famous, critical debate largely ceased: her word became law. Over time, some of her methods became dogmatic and extreme, yet her influence continued to grow.”

You wouldn’t know it from listening to her fiercest detractors, but Calkins has, in fact, continuously updated Units of Study. Unlike Irene Fountas and Gay Su Pinnell, who have stayed quiet during the latest furor and quietly reissued their curriculum with more emphasis on phonics last year, Calkins has even taken on her critics directly. In 2019—the year after she added the dedicated phonics texts to Units of Study—she published an eight-page document called “No One Gets to Own the Term ‘The Science of Reading,’ ” which referred dismissively to “phonics-centric people” and “the new hype about phonics.” This tone drove her opponents mad: Now that Calkins had been forced to adapt, she wanted to decide what the science of reading was?

“Her document is not about the science that I know; it is about Lucy Calkins,” wrote the cognitive neuroscientist Mark Seidenberg, one of the critics interviewed in Sold a Story. “The purpose of the document is to protect her brand, her market share, and her standing among her many followers.”

Talking with Calkins herself, it was hard to nail down to what extent she felt that the criticisms of her earlier work were justified. When I asked her how she was thinking about phonics in the 2000s, she told me: “Every school has a phonics program. And I would always talk about the phonics programs.” She added that she brought phonics specialists to Columbia’s Teachers College several times a year to help train aspiring educators. (James Cunningham, at UNC Chapel Hill, backed this up, telling me, “She was certainly not wearing a sandwich billboard around: DON’T TEACH PHONICS.”)

But still, I asked Calkins, would it be fair to say that phonics wasn’t your bag?

“I felt like phonics was something that you have the phonics experts teach.”

So where does this characterization of you being hostile toward phonics come from?

“Hopefully, you understand I’m not stupid. You would have to be stupid to not teach a 5-year-old phonics.”

But some people didn’t, did they? They were heavily into context and cueing.

“I’ve never heard of a kindergarten teacher who doesn’t teach phonics,” Calkins replied.

Because this is America, the reading debate has become a culture war. When Sold a Story came along in 2022, it resonated with a variety of audiences, including center-left education reformers and parents of children with learning disabilities. But it also galvanized political conservatives. Calkins’s Units of Study was already under attack from the right: In 2021, an article in the Manhattan Institute’s City Journal titled “Units of Indoctrination” had criticized the curriculum, alleging that the way it teaches students to analyze texts “amounts to little more than radical proselytization through literature.”

The podcast was released at an anxious time for American education. During the coronavirus pandemic, many schools—particularly in blue states—were closed for months at a time. Masking in classrooms made it harder for children to lip-read what their teachers were saying. Test scores fell, and have only recently begun to recover.

“Parents had, for a period of time, a front-row seat based on Zoom school,” Annie Ward, a recently retired assistant superintendent in Mamaroneck, New York, told me. She wondered if that fueled a desire for a “back to basics” approach. “If I’m a parent, I want to know the teacher is teaching and my kid is sitting there soaking it up, and I don’t want this loosey-goosey” stuff.

Disgruntled parents quickly gathered online. Moms for Liberty, a right-wing group that started out by opposing school closures and mask mandates, began lobbying state legislators to change school curricula as well. The reading wars began to merge with other controversies, such as how hard schools should push diversity-and-inclusion programs. (The Moms for Liberty website recommends Sold a Story on its resources page.) “We’re failing kids everyday, and Moms for Liberty is calling it out,” a co-founder, Tiffany Justice, told Education Week in October of last year. “The idea that there’s more emphasis placed on diversity in the classroom, rather than teaching kids to read, is alarming at best. That’s criminal.”

Ward’s district was not “teaching Lucy,” but using its own bespoke balanced-literacy curriculum. In the aftermath of the pandemic, Ward told me, the district had several “contentious” meetings, including one in January 2023 where “we had ringers”—attendees who were not parents or community members, but instead seemed to be activists from outside the district. “None of us in the room recognized these people.” That had never happened before.

I had met Ward at a dinner organized by Calkins at her home, which is also the headquarters of Mossflower—the successor to the center that Calkins used to lead at Teachers College. The evening demonstrated that Calkins still has star power. On short notice, she had managed to assemble half a dozen superintendents, assistant superintendents, and principals from New York districts.

“Any kind of disruption like this has you think very carefully about what you’re doing,” Edgar McIntosh, an assistant superintendent in Scarsdale, told me. But he, like several others, was frustrated by the debate. During his time as an elementary-school teacher, he had discovered that some children could decode words—the basic skill developed by phonics—but struggled with their meaning. He worried that parents’ clamor for more phonics might come at the expense of teachers’ attention to fluency and comprehension. Raymond Sanchez, the superintendent of Tarrytown’s school district, said principals should be able to explain how they were adding more phonics or decodable texts to existing programs, rather than having “to throw everything out and find a series that has a sticker that says ‘science of reading’ on it.”

This, to me, is the key to the anti-Lucy puzzle. Hanford’s reporting was thorough and necessary, but its conclusion—that whole language or balanced literacy would be replaced by a shifting, research-based movement—is hard to reconcile with how American education actually works. The science of reading started as a neutral description of a set of principles, but it has now become a brand name, another off-the-shelf solution to America’s educational problems. The answer to those problems might not be to swap out one commercial curriculum package for another—but that’s what the system is set up to enable.

Gail Dahling-Hench, the assistant superintendent in Madison, Connecticut, has experienced this pressure firsthand. Her district’s schools don’t “teach Lucy” but instead follow a bespoke local curriculum that, she says, uses classroom elements associated with balanced literacy, such as the workshop model of students studying together in small groups, while also emphasizing phonics. That didn’t stop them from running afoul of the new science-of-reading laws.

In 2021, Connecticut passed a “Right to Read” law mandating that schools choose a K–3 curriculum from an approved list of options that are considered compliant with the science of reading. Afterward, Dahling-Hench’s district was denied a waiver to keep using its own curriculum. (Eighty-five districts and charter schools in Connecticut applied for a waiver, but only 17 were successful.) “I think they got wrapped around the axle of thinking that programs deliver instruction, and not teachers,” she told me.

Dahling-Hench said the state gave her no useful explanation for its decision—nor has it outlined the penalties for noncompliance. She has decided to stick with the bespoke curriculum, because she thinks it’s working. According to test scores released a few days after our conversation, her district is among the best-performing in the state.

Keeping the current curriculum also avoids the cost of preparing teachers and administrators to use a new one—a transition that would be expensive even for a tiny district like hers, with just five schools. “It can look like $150,000 to $800,000 depending on which program you’re looking at, but that’s a onetime cost,” Dahling-Hench said. Then you need to factor in annual costs, such as new workbooks.

You can’t understand this controversy without appreciating the sums involved. Refreshing a curriculum can cost a state millions of dollars. People on both sides will therefore suggest that their opponents are motivated by money—either saving their favored curriculum to keep the profits flowing, or getting rich through selling school boards an entirely new one. Talking with teachers and researchers, I heard widespread frustration with America’s commercial approach to literacy education. Politicians and bureaucrats tend to love the idea of a packaged solution—Buy this and make all your problems go away!—but the perfect curriculum does not exist.

“If you gave me any curriculum, I could find ways to improve it,” Aukerman, at the University of Calgary, told me. She thinks that when a teaching method falls out of fashion, its champions are often personally vilified, regardless of their good faith or expertise. In the case of Lucy Calkins and balanced literacy, Aukerman said, “If it weren’t her, it would be someone else.”

Jeff Brown for The Atlantic

One obvious question about the science of reading is, well … what is it? The evidence for some kind of explicit phonics instruction is compelling, and states such as Mississippi, which has adopted early screening to identify children who struggle to read—and which holds back third graders if necessary—appear to be improving their test scores. Beyond that, though, things get messy.

Dig into this subject, and you can find frontline teachers and credentialed professors who contest every part of the consensus. And I mean every part: Some academics don’t even think there’s a reading crisis at all.

American schools might be ditching Units of Study, but balanced literacy still has its defenders. A 2022 analysis in England, which mandates phonics, found that systematic reviews “do not support a synthetic phonics orientation to the teaching of reading; they suggest that a balanced-instruction approach is most likely to be successful.”

The data on the effects of specific methods can be conflicting and confusing, which is not unusual for education studies, or psychological research more generally. I feel sorry for any well-intentioned superintendent or state legislator trying to make sense of it all. One of the classrooms at Oceanside School 8 had a wall display devoted to “growth mindset,” a fashionable intervention that encourages children to believe that instead of their intelligence and ability being fixed, they can learn and evolve. Hoping to improve test scores, many schools have spent thousands of dollars each implementing “growth mindset” lessons, which proponents once argued should be a “national education priority.” (Some proponents also hoped, earnestly, that the approach could help bring peace to the Middle East.) But in the two decades since growth mindset first became ubiquitous, the lofty claims made about its promise have come down to earth.

Keeping up with all of this is more than any teacher—more than any school board, even—can reasonably be expected to do. After I got in touch with her, Emily Hanford sent me seven emails with links to studies and background reading; I left Calkins’s house loaded down with units of her curricula for younger students. More followed in the mail.

Even the most modest pronouncements about what’s happening in American schools are difficult to verify, because of the sheer number of districts, teachers, and pupils involved. In Sold a Story, Hanford suggested that some schools were succeeding with Units of Study only because parents hired personal tutors for their children. But corroborating this with data is impossible. “I haven’t figured out a way to quantify it, except in a very strong anecdotal way,” Hanford told me.

Some teachers love “teaching Lucy,” and others hate it. Is one group delusional? And if so, which one? Jenna and Christina, who have both taught kindergarten in New York using Units of Study, told me that the curriculum was too invested in the idea of children as “readers” and “writers” without giving them the basic skills needed to read and write. (They asked to be identified only by their first names in case of professional reprisals.) “It’s a piece of shit,” Christina said. She added: “We’re expecting them to apply skills that we haven’t taught them and that they aren’t coming to school with. I’ve been trying to express that there’s a problem and I get called negative.” Jenna had resorted to a covert strategy, secretly teaching phonics for up to 90 minutes a day instead of the brief lessons she was instructed to provide.

But for every Jenna or Christina, there’s a Latasha Holt. After a decade as a third- and fourth-grade teacher in Arkansas, Holt is now an associate professor of elementary literacy at the University of Louisiana at Lafayette, where she has watched from the sidelines as the tide turned against Calkins. “The dismantling of this thing, it got to me, because I had taught under Units of Study,” she told me. “I’ve used it, and I knew how good it was. I had lived it; I’ve seen it work; I knew it was good for kids.”

Aubrey Kinat is a third-grade teacher in Texas who recently left her position at a public school because it decided to drop Units of Study. (The school now uses another curriculum, which was deemed to align better with the science of reading.) Suddenly, she was pushed away from full novels and toward approved excerpts, and her lessons became much more heavily scripted. “I felt like I was talking so much,” she told me. “It took the joy out of it.”

For many school boards facing newly politicized parents who came out of the pandemic with strong opinions, ditching Lucy has had the happy side effect of giving adults much more control over what children read. Calkins and some of her dinner guests had suggested that this might be the true reason for the animus around independent reading. “I do start to wonder if this really is about wanting to move everybody towards textbooks,” Calkins said.

Eighteen months after her series launched, Hanford returned in April 2024 with two follow-up episodes of Sold a Story, which took a less polemical tone. Unsurprisingly so: Calkins had lost, and she had won.

The science of reading is the new consensus in education, and its advocates are the new establishment. It is now on the hook for the curriculum changes that it prompted—and for America’s reading performance more generally. That is an uncomfortable position for those who care more about research than about winning political fights.

Some of the neuroscience underpinning Sold a Story was provided by Seidenberg, a professor emeritus at the University of Wisconsin at Madison. (He did not respond to an interview request.) Since the series aired, he has welcomed the move away from Units of Study, but he has also warned that “none of the other major commercial curricula that are currently available were based on the relevant science from the ground up.”

Because the usefulness of phonics is one of the few science-of-reading conclusions that is immediately comprehensible to laypeople, “phonics” has come to stand in for the whole philosophy. In a blog post last year, Seidenberg lamented that, on a recent Zoom call, a teacher had asked if they needed to keep teaching phonemic awareness once children were good readers. (The answer is no: Sounding out letters is what you do until the process becomes automatic.) Seidenberg now worried that the science of reading is “at risk of turning into a new pedagogical dogma.”

Hanford has also expressed ambivalence about the effects of Sold a Story. She compared the situation to the aftermath of No Child Left Behind, a George W. Bush–era federal education initiative that heavily promoted a literacy program called Reading First. “It became focused on products and programs,” Hanford told me, adding that the ethos turned into “get rid of whole language and buy something else.” However, she is glad that the importance of phonics—and the research backing it—is now more widely understood, because she thinks this can break the cycle of revolution and counterrevolution. She added that whenever she talks with lawmakers, she stresses the importance of continuing to listen to teachers.

What about her portrait of Calkins as rich, privileged, oblivious? Forget the monogrammed towels, I told Hanford; there is a more benign explanation for Calkins’s worldview: Everywhere she goes, she meets people, like the teachers and children in Oceanside, who are overjoyed to see her, and keen to tell her how much they love Units of Study.

But Hanford told me that she’d included the towels line because “the vast majority of teachers, especially elementary-school teachers, in America are white, middle-class women.” Many of these women, she thought, had enjoyed school themselves and didn’t intuitively know what it was like to struggle with learning to read and write.

Reporting this story, I was reminded again and again that education is both a mass phenomenon and a deeply personal one. People I spoke with would say things like Well, he’s never done any classroom research. She’s never been a teacher. They don’t understand things the way I do. The education professors would complain that the cognitive scientists didn’t understand the history of the reading wars, while the scientists would complain that the education professors didn’t understand the latest peer-reviewed research. Meanwhile, a teacher must command a class that includes students with dyslexia as well as those who find reading a breeze, and kids whose parents read to them every night alongside children who don’t speak English at home. At the same time, school boards and state legislators, faced with angry parents and a welter of conflicting testimony, must answer a simple question: Should we be “teaching Lucy,” or not?

No matter how painful the past few years have been, though, Calkins is determined to keep fighting for her legacy. At 72, she has both the energy to start over again at Mossflower and the pragmatism to have promised her estate to further the cause once she’s gone. She still has a “ferocious” drive, she told me, and a deep conviction in her methods, even as they evolve. She does not want “to pretend it’s a brand-new approach,” she said, “when in fact we’ve just been learning; we’re just incorporating more things that we’ve learned.”

But now that balanced literacy is as unfashionable as whole language, Calkins is trying to come up with a new name for her program. She thought she might try “comprehensive literacy”—or maybe “rebalancing literacy.” Whatever it takes for America to once again feel confident about “teaching Lucy.”

This article appears in the December 2024 print edition with the headline “Teaching Lucy.” When you buy a book using a link on this page, we receive a commission. Thank you for supporting The Atlantic.