Kevin O'Leary stood up for Timothée Chalamet on the Oscars red carpet, recounted a memorable filming moment from Marty Supreme, and the ceremony highlights a crowded nominations race
The evening of the 98th Academy Awards brought an unexpected blend of film chat, defending remarks, and behind-the-scenes color. On the red carpet, venture capitalist turned actor Kevin O’Leary offered a forthright defense of his co-star Timothée Chalamet after public debate over comments the actor made about ballet and opera being on the decline. With the ceremony set to air on March 15 and Conan O’Brien returning as host, the spotlight was on both the nominees and the conversations they have sparked. Observers noted that the debate had prompted renewed attention on classical arts at a moment when the academy is also weighing a fresh crop of contenders.
O’Leary framed his remarks around a simple premise: the actor had been treated unfairly. Calling Chalamet a “great kid,” he suggested that any controversy occurred after the bulk of voting had already been completed and that Chalamet had even drawn attention to ballet and opera during promotions. The actor-producer’s film, Marty Supreme, earned nine nominations including a best actor nod for Chalamet and a best picture mention where he is credited as a producer. O’Leary also reflected on his own leap into movies, saying he stepped outside his comfort zone for the role and enjoyed collaborating with established performers on the project.
Speaking with reporters, O’Leary relayed a mix of earnest defense and comic anecdote. He recounted placing a modest personal wager—an offhand comment about staking money on the outcome—which he used to underline his confidence in the film’s prospects. He described how Chalamet had drawn criticism he did not deserve, and emphasized that the attention ultimately helped shine a light on the very art forms some felt were being disparaged. The interplay of celebrity, publicity, and criticism has become part of awards season dynamics, and O’Leary framed his intervention as an attempt to correct what he regarded as an overreaction from parts of the public conversation.
O’Leary also shared a behind-the-scenes detail from a memorable scene in Marty Supreme where his character strikes Chalamet with a ping-pong paddle. He said the sequence left Chalamet’s rear notably reddened by the end of the shoot and that a stunt double was on hand, but Chalamet insisted on performing the beat himself at an early hour. The anecdote underscored the actor’s commitment and a lighter side to what is otherwise a high-pressure awards contender. O’Leary joked that his agent had warned him not to try acting, but after the experience he plans to pursue more roles, aiming for one film a year to keep pushing his creative boundaries.
Marty Supreme arrived at the ceremony with a substantial slate of nods, including a top acting citation for Chalamet and recognition where the film qualified in the best picture field as well as several craft categories. The movie’s nine nominations put it among an upper tier of contenders, with credits in areas like cinematography and casting that signal industry respect beyond performance accolades. Chalamet’s double stature as nominee and producer places him at the intersection of creative and backstage recognition, a position that often amplifies an artist’s visibility on Oscar night.
At the top of the ballot, Ryan Coogler’s Sinners set a record with 16 nominations, displacing long-standing multi-nomination leaders. Paul Thomas Anderson’s One Battle After Another followed closely with a strong showing of its own. The nominations were revealed earlier in the season during a livestream at the Samuel Goldwyn Theater on January 22, where the academy also introduced new categories that broaden the awards’ scope, including a best-casting recognition. The field this year is notable for international representation and a mix of auteur-driven fare alongside crowd-pleasing fare, making outcomes harder to predict and discussions about the arts more animated.
Musician Josh Groban, slated to perform during the broadcast, used his platform to defend the value of classical arts, arguing they remind audiences of shared humanity amid a fractious cultural moment. He suggested that the controversy around Chalamet had an accidental benefit by galvanizing support and conversation for ballet and opera. Meanwhile, local connections to nominated projects surfaced in conversations about filming locations and talent backgrounds: Sinners carries ties to Newark through its lead, and Marty Supreme shot scenes in New Jersey venues such as Meadowlands Arena and Paterson, highlighting how regional production footprints intersect with national awards narratives. The ceremony will air live on ABC and stream on Hulu at 7 p.m. ET/4 p.m. PT, gathering together these stories for a single, decisive night.