Timothée Chalamet is the most influential young actor in the film industry. With millions of followers and an extraordinary career, he has already been nominated for the Best Actor Oscar three times by the age of 30, a feat previously only achieved by Brando. To these, he adds his role as producer of Marty Supreme. He has embodied Bob Dylan, enchanted stars in Dune, delivered an incomparable Willy Wonka, and every director is desperate to work with him. He is chameleonic and, like the best, can be everything and its opposite: strong and vulnerable, leader and submissive, luminous and dark. His pure talent and sharp instinct for managing his career did not stop him from speaking out to dismiss ballet and opera, highlighting their irrelevance and lack of future. An opinion disrespectful and unfair to dancers, singers, musicians, and set designers. However, as a self-absorbed cretin, he has the right to be one without paying a price—or so it seems. The betting favorite to win an Oscar has plummeted in the polls, influential people are threatening him with cancellation, and millions around the world have suddenly developed a miraculous passion for ballet and opera, which does not align with actual attendance rates. It is unbearable when freedom is wounded by those who theoretically defend it. Nothing harms the left more than this hypocrisy of the politically correct, who cling to fame like pilot fish feeding on the scraps from a shark's jaws.