I’m going to miss the ‘Marty Supreme’ press tour

Timothée Chalamet on the red carpet in Beijing Courtesy of Getty Images

By Mira Fox March 12, 2026

Lately, the internet hasn’t been able to stop talking about Timothée Chalamet. First, an account clipped a dismissive statement he made during a town hall event about opera and ballet. The next was a video of him, in China, playing an elderly woman in ping-pong. Then, there was a clip of him serving tofu from a street stand using a ping-pong paddle.

All of these moments were absurd elements of his press tour for Marty Supreme. And every piece of this has been so fitting for Chalamet’s louche and chaotic ping-pong star, Marty Mauser that it almost feels as though he is still doing some sort of Method acting.

Fittingly, a lot of this press tour has made people mad.

Take the opera and ballet comment, in which Chalamet said that “no one cares” about those art forms. In context, he was stating an objectively true fact — indeed, opera and ballet are not popular mass entertainment. Out of context, however, he sounded like an anti-intellectual who hates the fine arts. Yes, Chalamet, who went to the renowned Manhattan performing arts school LaGuardia, and who comes from a family steeped in ballet.

“I’m just taking shots for no reason,” he laughed after dissing ballet.

This kicked off a truly absurd news cycle in which operas and ballets across the country projected “We Care” across their stages in response to Chalamet’s comments, used his name as a discount code for tickets to their performances or otherwise threw shade.

As this was unfolding, Chalamet was ignoring the drama to focus on what really matters. Which is to say he was in China playing ping-pong against elderly people who seemed to generally be kicking his ass. People presented him with gifts emblazoned with “Sweet Tea,” his nickname in China. In honor of that nickname, he drank some sweet tea. He cut tofu with a ping-pong paddle.

It’s just so pitch perfect. Mauser, in the movie, is charming, yes, but wildly arrogant. He also leaves a trail of injuries — both physical and emotional — in his wake all in the name of pursuing greatness. Chalamet is pursuing an Oscar. Potato, po-tah-to.

This year, the complaints about the opera and ballet comment are not the only things that have plagued the Marty Supreme Oscars bid. The movie has been catching strays in the general discourse that has grown since Oct. 7, with a whole host of viral posts accusing the film, which is very Jewish in feel but makes basically no mention of Israel, of being Zionist propaganda.

One could rail against this, point out all the ways it is both stupid and antisemitic. Like that Marty is a fairly despicable character so as far as propaganda goes, it wouldn’t be very effective. Or that making a movie by and about Jews doesn’t mean anything about a movie’s political message. Have people totally lost the ability to watch and interpret movies? Maybe Jewish stories are in just as much trouble as opera and ballet, though obviously in a different way. They are so constantly read as a metaphor for or commentary on Israel that people can no longer appreciate them for their own merits.

Chalamet, however, has simply been ignoring the noise and having fun. The actor has become somewhat famous for his oddball press appearances. Before Marty Supreme even came out, he dropped a nearly 20-minute long surreal parody of his own marketing tour, in which he spent a video call pitching his team on ideas such as dyeing the Statue of Liberty orange.

It’s an unusual strategy in an era of constant statements, apologies and explanations. Whether or not it will be successful we will find out this weekend at the Academy Awards. It wasn’t last year, when he made sports predictions during his press tour for A Complete Unknown, the Bob Dylan biopic; Adrien Brody ultimately won for The Brutalist, a movie I still have not seen. (I want to, truly, but it is just so long.) Brody had a much more traditional press tour, giving interviews about the importance of his role, of the Holocaust, of art. He generally took himself very seriously in both his defense of his art, and of his Jewish identity and Jewish movie.

That’s all well and good, and probably appropriate for The Brutalist. But it’s far more fun to watch Chalamet play ping-pong against China’s elderly. And I think it’s a better way to handle the criticism, whether it’s about Zionism, Judaism or um, anti-opera-ism. Chalamet refuses to dignify his critics; he simply carries on enjoying himself. And I, for one, have enjoyed watching him do it. I’ll miss him when this press tour ends.