--- title: Timothée Chalamet's Gimmicky Oscar Campaign description: Whether you loved or loathed Chalamet in Marty Supreme—or even if you simply didn’t see the movie—you might have stronger feelings about Chalamet’s behavior on the campaign trail than about the performance he put on the screen. canonical: https://time.com/article/2026/03/16/timothee-chalamet-oscar-campaign/ author: Stephanie Zacharek article:opinion: false article:content_tier: free article:published_time: 2026-03-16T16:40:54.125Z article:modified_time: 2026-05-19T07:45:24.779Z article:section: Entertainment og:title: Timothée Chalamet and the End—We Hope—Of the Gimmicky Oscar Campaign og:description: Whether you loved or loathed Chalamet in Marty Supreme—or even if you simply didn’t see the movie—you might have stronger feelings about Chalamet’s behavior on the campaign trail than about the performance he put on the screen. og:url: https://time.com/article/2026/03/16/timothee-chalamet-oscar-campaign/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/bltee334546f08e1a12/69b818925a03c883b0ee3f3e/GettyImages-2266289030.jpg?branch=production&width=1024&quality=75&auto=webp&crop=16:9 og:image:width: 1024 og:image:height: 576 og:image:alt: GettyImages-2266289030.jpg og:type: article twitter:card: summary_large_image twitter:title: Timothée Chalamet and the End—We Hope—Of the Gimmicky Oscar Campaign twitter:description: Whether you loved or loathed Chalamet in Marty Supreme—or even if you simply didn’t see the movie—you might have stronger feelings about Chalamet’s behavior on the campaign trail than about the performance he put on the screen. twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/bltee334546f08e1a12/69b818925a03c883b0ee3f3e/GettyImages-2266289030.jpg?branch=production&width=1024&quality=75&auto=webp&crop=16:9 ---  # Timothée Chalamet and the End—We Hope—Of the Gimmicky Oscar Campaign > Sponsored content. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account.  by [Stephanie Zacharek](https://time.com/author/stephanie-zacharek/)  ## Stephanie Zacharek Film Critic Mar 16, 2026 4:40 PM UTC  Timothée Chalamet attends the 98th Annual Academy Awards at the Dolby Theatre in Hollywood, California on March 15, 2026. Timothée Chalamet attends the 98th Annual Academy Awards at the Dolby Theatre in Hollywood, California on March 15, 2026. Angela Weiss—AFP via Getty Images  by [Stephanie Zacharek](https://time.com/author/stephanie-zacharek/)  ## Stephanie Zacharek Film Critic Mar 16, 2026 4:40 PM UTC [Timothée Chalamet](https://time.com/collections/next-generation-leaders/6103203/timothee-chalamet-profile/) lost the Best Actor [Academy Award last night](https://time.com/article/2026/03/13/oscars-recap-2026/), and while that might be a disappointment for him, it’s a small victory for every movie lover who has become weary of the Oscar campaign machine. At their purest, [the Academy Awards](https://time.com/article/2026/03/15/oscars-2026-review-conan-obrien-one-battle-after-another/) are a celebration of what film can be, and of the people who manage to do great work in what has always been a tough business, and is only getting tougher. But the run-up to the awards has become a slog. It’s not just that you see all the [acting nominees](https://time.com/7263574/oscars-historic-wins-records-2025/) gunning for Oscar gold by making the rounds of every single talk show, some of them turning whatever charm they’ve got into a tiresome spiel. It’s that the campaigns now seem to be more carefully scrutinized than the performances themselves. Whether you loved or [loathed Chalamet in _Marty Supreme_](https://time.com/7337705/marty-supreme-review-timothee-chalamet/)—or even if you simply didn’t see the movie—you might have stronger feelings about Chalamet’s behavior on the campaign trail than about the performance he put on the screen. And if that’s the case, then the movies really are in trouble. At the end of last month, during a town hall event sponsored by _Variety_ and CNN and moderated by Matthew McConaughey, [Chalamet publicly made a couple of brash, dumb remarks](https://time.com/7383265/timothee-chalamet-ballet-opera/), especially for a guy who grew up in federally subsidized New York City housing known as a haven for artists. “I don’t want to be working in ballet or opera, or things where it’s like, ‘Hey, keep this thing alive,’ even though no one cares about this anymore,” he said. And apparently unaware that prefacing a statement with the phrase “All respect to” instantly signals a total lack of respect, he added, “All respect to the ballet and opera people out there. I just lost 14 cents in viewership.” It was as if he’d tossed a lit match onto a pile of gasoline-doused tutus. Artists involved in both disciplines spoke up, loudly, as did people who simply love them as art forms. But on social media there were also legions of staunch Chalamet defenders who claimed he wasn’t totally wrong, or that we shouldn’t be scrutinizing every remark that spills from his lips—we should just let him be an unmanicured young performer who speaks his mind, despite the reality that every media appearance he's made over the past three months has been excessively manicured. The more self-righteous among those defenders demanded to know how often those complaining about Chalamet's remarks ever attended opera or ballet themselves. In order to have feelings about an actor’s offscreen behavior, you’d better be able to present the ticket stubs. Almost as bad were those who claimed Chalamet has zero talent to begin with, so what did any of it matter? That logic is skewed as well—you don’t have to like what Chalamet’s got, or dislike it, to recognize behavior that’s just unseemly and ungenerous for any young actor. Then there’s another tier of half-checked-out observers who don’t care at all—they’ve probably got the right idea. But Chalamet’s opera/ballet remark—which was made on Feb. 24, roughly eight days before Academy Members’ votes were due, though it didn’t go viral until shortly before the voting closed—actually came at the tail end of a long, seemingly calculated Oscar grab loaded with braggadocio: Late last year, Chalamet told _Vogue,_ “My superpower is my fearlessness.” He [adopted markers of Black culture](https://www.vulture.com/article/timothee-chalamet-wigga-marty-supreme-oscars.html), like stomping around in Timberlands, to make himself seem more, you know, down with the people. Late last year he climbed the Las Vegas sphere—it had been transformed into an orange ping pong ball—and staged, as a stunt, an outlandish Zoom pitch meeting with A24 executives. His shtick was that he was playing the role of an arrogant veteran even though he’s still more or less a punk. A pretty gifted punk, let’s add. His performance as Bob Dylan in 2024’s [_A Complete Unknown_](https://time.com/7202876/a-complete-unknown-review-bob-dylan/) didn’t have the false, brassy veneer of the one he gave in _Marty Supreme._ It was a strange, complex performance—oddly enough, a potent examination of the way one great artist, still basically a kid, fumbled his way toward fame he wasn’t sure he wanted. (I still think about that scene where Chalamet-as-Dylan, his eyes seemingly as blank as those of a sleepy lizard, writes “Blowin’ in the Wind” by idly strumming a guitar in a rumpled bed—wearing nothing but baggy underpants.) With the exception of his excessively arch performance in _Marty Supreme,_ I’ve liked Chalamet quite a bit over the years; I’d rather he not behave like a schmuck, especially before he's long past age 30\. Lots of people now have decided that his public persona is jerky—and plenty of them, including Juliette Binoche, pointed out that he shouldn’t be so smug about his chosen art form: [movies themselves are in trouble](https://www.wsj.com/business/media/los-angeles-entertainment-economy-downturn-7879105c?gaa%5Fat=eafs&gaa%5Fn=AWEtsqfESFkoUCMyWBXsGBSUMXVjLFrdqrSknhqFS4DBkBz%5FX2Xh7bnHtKYA-9og1yo%3D&gaa%5Fts=69b81f39&gaa%5Fsig=4v-O0NtCOiASkNNA-vB1292Sczb85nxL1d5dG72NhNqSnq2ew9jAh3sa7KZOMrIWZUbffARvp1Re9HN1rJi7wA%3D%3D), a diversion that’s no longer embraced by the masses. And in a keynote conversation at SXSW, [Steven Spielberg](https://time.com/6213123/the-fabelmans-steven-spielberg-life/), a person who appears to be genuinely eager never to offend, [pushed back in his own way](https://variety.com/2026/film/news/steven-spielberg-timothee-chalamet-ballet-1236687368/), suggesting that the shared emotional experience of movies is the same as the connection we feel at a concert, ballet, or opera. But there are also those who want to stand by Chalamet no matter what. When I put up a [post](https://x.com/szacharek/status/2030090491065241939) on social media gently chiding Chalamet for his oafishness (“Timothée Chalamet is proof that an actor can be incredibly gifted and also a TWERP”), one user took me to task for “misunderstanding” his campaign. I also saw a number of vociferous defenses not of what he actually said, but of what, in my most generous mode, I think he probably meant: that live productions of opera and ballet are expensive to mount, which means costly tickets, which means most people of average means can’t afford to attend regularly. If he’d said that, he wouldn’t be wrong. It was the “no one cares about anymore” portion of his remark, tossed off with so much obvious dismissiveness, that indicated how he really feels. Of course we’re supposed to assess actors mostly through their work, and not how they come off in the extracurricular moments when they’re supposedly appearing as themselves. But we always have feelings about movie stars as people—that has been true since the beginning of movies, and there’s no going back. Their offscreen image is often part of how we perceive them on-screen; it's what being a movie star is about. So when a young actor says something offensive, why are we required to metacontextualize his remarks in the context of a prize he’s hoping to win? Sometimes rude is just rude. Meanwhile, Michael B. Jordan won the Best Actor Oscar—for his terrific performance in Ryan Coogler's [_Sinners_](https://time.com/7278537/sinners-review-ryan-coogler/)—with the exact opposite of a calculated campaign. He doesn't seem to have sought to be [anyone but himself](https://x.com/ArtOfDialogue%5F/status/2033442598619173231). In the end, though, maybe it’s a ballet dancer who gets the last laugh. Recently retired ballerina Misty Copeland performed during the Oscars ceremony, in the musical number keyed to _Sinners;_ she [underwent hip replacement surgery](https://www.instagram.com/p/DVjV5uikZhU/) only in December. For an artist who’s also essentially an athlete, what kind of discipline does it take to come back so quickly? Copeland’s recovery took roughly the same number of months as an Oscar campaign. 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