Thoroughly Good Interrogation: Timothée Chalamet
Should arts organisations have responded to Timothée Chalamet?
Timothée Chalamet — actor, Oscar nominee, famed if not celebrated — claimed this week that no one cared about opera and ballet, prompting arts organisations to collectively clutch their pearls. Some even called 999 (and/or 111). Cringe-making stuff.
Every arts organisation with a social media account posted something this week in response to Timothée Chalamet’s comments about ballet and opera. Should they have?
I’m not sure it’s every arts organisation, have they? It certainly seems like a lot. That’s the algorithm for you. Should they have posted? I really wish they hadn’t, truth be told.
Why not?
No one really knows why Chalamet said what he said. And really and truly few should really care that much. I don’t wish him any ill will. Until earlier this week I wasn’t even thinking of him. It’s the social media equivalent of a clickbaity headline. A Trumpian dog whistle call to action that exposes which side of the argument you’re on. If you’re an arts organisation responding to Chalamet saying he’s wrong to hold that opinion, well then you’re preaching to the choir. Why bother? If you are bothering then it sounds like you’re chasing traffic, reach, growth or thinking it’s worth gaming the algorithm. Breaking news: it’s really not.
But surely staying silent looks like you agree with him?
Does an arts organisation really think that the disparaging opinions of an actor about two highly prized art forms risk damaging their customer base? If they do this might signal time for a bit of a reorg.
What did these organisations actually misunderstand about how this story was constructed in the first place?
It’s a distraction from their core purpose. You don’t defend your purpose. You simply continue getting on with acting on it. The moment you start defending your position you tend to communicate a lack of self-confidence.
Isn’t Chalamet at least partly to blame here? He said it.
You’re sounding a little bit snarky there.
Chalamet is allowed to say whatever the hell he likes. Just as you’re allowed to decide whether it’s necessary to respond to it or not.
So what’s the actual cost of responding?
Time. Money. And potentially an uncomfortable meeting explaining who Timothée Chalamet is (and how he’s not Gene Wilder) to a board member.
What should a genuinely confident arts organisation do instead?
Ignore it.