When you read this, the Academy Awards will either be hours away or already behind us.
And the man who is arguably Hollywood’s biggest star, Timothée Chalamet, will either be celebrating a historic night, becoming one of the youngest actors ever to win Best Actor, or quietly reflecting on how, in the span of a few ill-chosen words, he may have fumbled the ball at the one-yard line.
For readers who may have missed the online furor, let me briefly explain.
Chalamet sparked a major backlash last week when he appeared to dismiss ballet and opera as relics; art forms sustained largely out of obligation rather than vitality.
“I don’t want to be working in ballet or opera, or, you know, things where it’s like, ‘Hey, keep this thing alive,’” he said during a CNN and Variety town hall event.
The pushback was both swift and widespread.
Arts commentators rushed in to agree or disagree with his premise. Social media erupted, with critics eager to knock a celebrity down a peg. Opera and ballet companies around the world seized the moment for some clever marketing, offering discounted tickets with promo codes like “TIMOTHEE.” Here at home, the Canadian Opera Company leaned into the moment with videos of young opera fans explaining why the art form continues to matter.
In short, the comment struck a nerve for many.
It certainly did for me.
I’m of the “an attack on one is an attack on all” camp when it comes to the arts. As Chancellor of OCAD University and a longtime supporter of Canada’s cultural institutions, including currently serving on the board of the Shaw Festival in Niagara-on-the-Lake, I have spent decades around artists and arts organizations. And what every leader in the sector will tell you right now is simple: these are difficult times.
Public funding and private donations are under pressure. Artificial intelligence is beginning to disrupt entire creative industries, raising profound questions about authorship, ownership and the future of artistic labour. And audiences themselves are being pulled in a thousand different directions.
Yet despite these pressures, the sector continues to punch far above its weight economically. According to research by the Canadian Chamber of Commerce, Canada’s arts and culture industries contributed roughly $65 billion to the national economy in 2024, about two per cent of GDP. Even more striking, the sector has been growing at nearly twice the pace of the broader economy, outpacing industries such as oil and gas, retail and manufacturing.
But economics only tell part of the story. There are much deeper reasons we need the arts now more than ever.
We are living in an era of intensifying division, geopolitical, ideological and cultural. Conflict across the globe is hardening identities and flattening our ability to see one another as fully human.
The 19th century novelist, Stendhal, once wrote that politics in a work of art is like a pistol shot in a concert, something simply impossible to ignore. Gore Vidal turned that metaphor on its head, observing that in modern times “the pistol shots are the concert, while the work of art becomes the discordant interruption.”
It is a comment that feels increasingly accurate. And the interruption remains precisely what we’re in need of today.
Art interrupts the narratives that turn neighbours into enemies. It complicates the simple stories that conflict depends upon. It reminds us that behind every label, political, national, ideological, there is a human being.
In a world increasingly organized around outrage, speed and tribal certainty, the arts do something radical: they slow us down. They invite empathy. They expand the imagination. They humanize.
Which is precisely why they are worth defending, in all their forms.
So, while Sunday night will produce its usual stories of triumph and heartbreak for actors like Chalamet, the world will keep turning, and we will continue to need that interruption.
At the same time, we will do well to remember the small controversy he stirred and the larger truth it reminds us of. The arts are not relics we preserve out of nostalgia. They are tools we rely on to remain human.