The national magazine of Texas is undergoing some major changes. Texas Monthly announced on March 1 that Tim Taliaferro, who served a tumultuous 16 months as editor in chief, will no longer edit the magazine. Instead, he will be transitioning into a new role as chief innovation officer.
Taking his place as interim editor in chief is Rich Oppel, former editor of the Austin American-Statesman. Oppel was named the magazine's ombudsman in February after the Columbia Journalism Review published a report that Taliaferro had allegedly struck a deal with Austin-based Bumble to feature the company's CEO on the February cover of Texas Monthly.
"Throughout its 45-year history, Texas Monthly has been known for its quality journalism and an ironclad commitment to editorial integrity," Oppel said in a release. "These changes will help the organization continue in that tradition and bring our excellent stories to an even larger audience through innovative new avenues."
Oppel will remain at the top of the masthead while "a comprehensive nationwide search is conducted for a new long-term editor." He assumes the position in May.
The magazine also announced the addition of two new hires: Carlos Sanchez as news and politics editor and Megan Creydt as digital managing editor.
In his new role as chief innovation officer, Taliaferro will be tasked with finding new ways to disseminate Texas Monthly's content across digital platforms, as well as video, podcasts, and events.
"The enthusiastic audience response to the fresh energy at Texas Monthly has been wonderful," said Paul Hobby, Texas Monthly's chairman and CEO. "Our iconic magazine is now surrounded by a suite of digital products and novel events that celebrate the cult of Texas with a smart, clear voice."
Whether or not you agree with actor Timothée Chalamet's viral assessment of ballet's popularity, it's practically inescapable on the internet right now. Some onlookers are shrugging their shoulders while others leap (jeté, if you will) to the art form's defense; Ballet Austin is taking this unique opportunity to turn a hot topic into a promotion for its next production.
In conversation with Austin actor Matthew McConaughey at the University of Texas at Austin this February, Chalamet said, "I don't want to be working in ballet or opera, or you know, things where it's like, 'hey, keep this thing alive, even though like no one cares about this anymore.' All respect to the ballet and opera people out there. I just lost 14 cents in viewership."
Chalamet immediately seemed to experience a twinge of regret, awkwardly adding, "But um...damn, I just took shots for no reason." He also sang a note and hid his face behind the cards he was holding.
In response, Ballet Austin posted a clip of the interview March 10 inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to the world premiere of Marie Antoinette: Vampire Queen of Versailles.
"Timothée… you were in Austin? We were literally down the street," the post says. "Austin has brisket. Austin has music. Austin also has ballet."
If they wanted to be a bit wordier, the company also could have added, "Austin has opera," since Austin Opera is, in fact, another local organization that even performs at the same venue, the Long Center for the Performing Arts.
Even if Chalamet's words were dismissive, he's obviously not wrong about the relative distribution of public interest between the classical arts and major films like Marty Supreme, the late 2025 film he stars in and is busy promoting. The film's commercially successful release set a record for A24, an already renowned studio.
Chalamet brought up ballet and opera in service of a larger point about pacing in movies. He said he exists in a middle ground as a consumer between wanting to be drawn in early and being more patient as a film progresses. Ultimately, he juxtaposed Barbie and Oppenheimer with the classical arts, pointing out that if the masses want to go see a film, they will "be loud and proud about it" organically, without needing performers to advocate for the seriousness of the art form.
Coincidentally, there couldn't be a better counterpoint to this argument than Marie Antoinette: Vampire Queen of Versailles.
As the title suggests, the story follows historical figure Marie Antoinette as she chooses to become a vampire, seeking "power, immortality, and vengeance," according to an earlier press release about the production. It takes a somewhat silly premise and gives it dramatic gravitas, with an original score by Austin composer Graham Reynolds, who is known outside of classical circles and sometimes composes for movie soundtracks.
"For Ballet Austin, the moment is an opportunity to remind audiences that ballet isn’t fading away," says a short press release about the new promotion. "It’s evolving, drawing new audiences and continuing to thrive in creative cities like Austin."
If Chalamet really does fall in the middle of instant and delayed artistic gratification, this sounds like the perfect production to draw him in. And perhaps Ballet Austin should add people named Matthew to their promotion, since McConaughey threw the younger star a bone after his momentary walk-back, saying, "That's not a shot — I hear what you're saying."
All Timothées and folks with similar names will have to do to claim a ticket is send a message to Ballet Austin on social media and show identification. Everyone else who wants to see the supernatural show where "the line between victim and villain blurs" will have to purchase a ticket ($25-$125) at balletaustin.org. The show only runs for three performances from March 27-29.
