Timothée Chalamet has attacked ballet and opera. How can anyone in the arts behave like this, Neil Mackay asks. He’s a symbol of the collapse of culture in the 21st century.

I must reluctantly salute Timothée Chalamet. I find him a detestable creature. He would be better renamed ‘Shallow Timothy’. Yet he has pulled off one of the greatest tricks in the history of entertainment. 

Chalamet has packaged himself as an avatar for all that’s good about Gen Z. I have much time and affection for Gen Z, so find this rather sickening. 

Chalamet is presented to the world as a sensitive, vulnerable young man; poetic, emotionally intelligent. He’s been self-curated as a kind of modern David Bowie: androgynous, aesthetic, deep, sensitive. Chalamet is, we’re told: A Great Artist.

He is not. Chalamet is part and parcel of influencer culture. There’s little difference between a lip-fillered Instagram phoney selling wellness potions, or those roided-up fools in suits so tight they can barely breathe teaching boys on YouTube how to be pick-up artists, and the cult of Chalamet.

The mask has slipped, though. This ‘great artist’, this sensitive, intelligent man, this poet, decided to trample all over the arts. 

Bravo, Starmer, for staying out of Trump’s absurd, apocalyptic war

The horror and absurdity of life in a time of genocide in Gaza

If you are still backing Trump you cannot dare call yourself a British patriot

Epstein marks a fracture point between Trump and his MAGA cult

He said this in a podcast with Matthew McConaughey, another actor you suspect exists in a world of image which is rather in conflict with his true self: “I don’t want to be working in ballet or opera or things where........

© Herald Scotland