Podcast Summary: "Critical Darlings: Marty Supreme And The Precursor Circuit with Griffin Newman"

Podcast: Blank Check with Griffin & David
Episode: Critical Darlings: Marty Supreme And The Precursor Circuit
Date: January 8, 2026
Hosts: Richard Lawson, Alison Wilmore
Guest: Griffin Newman
Producer: Ben Hosley

Episode Overview

This episode of Critical Darlings focuses on the evolving shape of the 2025–26 awards season, with a deep dive into awards-show "precursors" (critics' circles, ceremonies, nomination bellwethers), as well as a comprehensive and spoiler-rich discussion of Josh Safdie’s Marty Supreme—its awards campaign, metatextual ambitions, and Timothée Chalamet’s game-changing role both in the film and in Hollywood at large. The hosts and Griffin Newman analyze the unpredictable dynamics of awards races, the impact of performance "real estate" (when an actor appears in a film), industry politics, and changing standards for prestige and likability in Oscar fare.

[00:00–06:30] NYFCC Awards Dinner: Hangovers, Anecdotes, and Awards Season Kickoff

• The hosts and Griffin debrief after the New York Film Critics Circle (NYFCC) Awards dinner, sharing post-party banter (“Am I still drunk? I don’t know if the system even reset when I slept.” — Griffin, 01:45).
• Describes the surreal, theatrical ambiance of Tao Downtown (the event venue), complete with anecdotes (Ethan Hawke falling into the statue fountain: “If someone was gonna step in the fountain, that was the best possible way for it to happen.” — Alison, 03:23).
• Reflections on the NYFCC’s history and social quirks, with nostalgia for the city’s departed theme restaurants:
  • “Ninja was a restaurant in SoHo... you were served by ninjas. And you'd be like, are they gonna bring bread to the table? And then a guy would, like, appear from the shadows.” (Griffin, 07:29)
• Sets the tone: blend of inside-baseball, warmth, and critical analysis.

[08:55–14:08] Awards Show "Realness" and Precursor Culture

• Precursor Events: The value, legitimacy, and quirks of early awards shows and critics' groups (NYFCC, Critics Choice, National Board of Review, Gothams, etc).
• Members discuss the “realness” of each group's voting body and ceremonies.
  • “We can start with this. And obviously, this is an organization we're both part of. So it’s incredibly real and very meaningful.” (Alison, 11:27)
• The "food scandal" at the Critics Choice Awards—a running joke about the dire state of awards-show catering (“Pizza in a bag”, “Leonardo DiCaprio sitting in front of like one of these snack plates, not touching it is like very…” — Alison, 15:24).
• On the influence of early awards:
  • "Sometimes they're just off... but you see certain names written out in text, and you go, huh, how does that look? And how does that feel as a winner?" (Griffin, 16:13)

[16:59–21:54] The Power of Campaigning and Performance Placement

• Importance of seeing contenders "dressed fancy on some kind of stage," and how speeches and moments can shape momentum.
• Discusses the phenomenon of "category fraud"; the trickiness of supporting performances that are really co-leads.
• The potency of “real estate” in a movie—“It is easier for someone to score with a smaller part towards the end because it's about the immediate feelings as you're walking out of the movie.”
• Case study: Amy Madigan in "Weapons" as the late-breaking supporting performer, versus Teyana Taylor, whose impactful performance is in the first act (“By the time One Battle ends, you haven’t seen Teyana Taylor… for about 90 minutes.” — Richard, 24:11)

[27:52–31:54] Supporting & Bit-Part Performances: Oscar Challenges

• Notable examples of actors who’ve won Oscars for brief, intense roles (Beatrice Straight, Judd Hirsch, Alan Arkin).
• Debate over whether the Academy should introduce a new acting category for “bit parts” or special appearances (“Special Appearance, exactly.” — Ben, 30:33).
• Highlights supporting performances undervalued by the current system.

[32:04–37:34] Awards Voting Dynamics & Actor Narratives

• Rich conversation about how actors’ reputations, longevity, or “overdue” status can drive the Oscar narrative (Jamie Lee Curtis, Sylvester Stallone, Amy Madigan).
• Politics within Hollywood’s voting bodies, including SAG’s unique dynamics: “A pretty small number who get the call every year... you have to watch everything, prove you've watched everything… then the rest of the union votes for the final award.” (Griffin, 36:13)
• “You do have to kind of... parse, like, okay, which of these, though, are actually meaningful just in general or have any sort of predictive power? And I think it's actually more it's in aggregate.” (Richard, 17:55)

[37:35–44:29] The "Campaign" as Political Primary; Traction & Turnover

• The hosts liken awards season to the early stages of an American presidential primary, with shifting narratives, momentum, and insider politicking.
• Griffin on “industry juice”: “If you work with [someone], he's got the goods.”
• Reference to surprises and letdowns, like Charles Melton’s snub, and the role of in-person schmoozing.

[44:52–55:17] Marty Supreme, Timothée Chalamet & the Reinvention of the Campaign

• Richard prompts a discussion on the Marty Supreme campaign.
• Timothée Chalamet is explored as a modern marketing/campaigning master who bridges movie and meme culture:
  • “He very clearly understands the Internet in a way that isn’t just generational. I think he has… a kind of supernatural understanding of that ecosystem.” (Griffin, 46:11)
• The shift from "movie promo" to "Oscar campaign":
  • “Chalamet, from what, November through Christmas was not awards campaigning. He was promoting a movie. And there’s a difference.” (Richard, 45:48)
• Background on the “youngest Best Actor” stat: “If Chalamet wins this year for Marty Supreme, he will be four months older than Adrien Brody was.” (Griffin, 47:44)
• Chalamet’s double-edged metatext: Hollywood’s “future” is resting on him, yet awards tradition resists crowning young men.
  • “If there is anyone who is going to be like, an actual A-list leading man, something that...has started to seem like...maybe is done...he is your guy.” (Alison, 53:13)

[55:18–66:40] Marty Supreme: Themes, Reception, and Oscar Prognosis

• Deep dive on Marty Supreme's tonal complexity, Safdie’s metatext/storytelling, and Chalamet’s performance.
• Film likened to abrasive, male-centric 1970s Oscar fare, noting how “Mel” (generic old Academy member) taste has shifted from 1950s prestige to ‘70s antiheroism (“My dad is kind of a Mel...But what we think of as a Mel has changed because the Mel is now people who think the best it ever was was...new Hollywood ‘70s.” — Griffin, 65:06)
• Breakdown of the film’s complicated, ambiguous ending; hosts encourage multiple interpretations (“I’ve seen people so confidently argue specifically and intentionally it should only be read this way... There’s something in that ending and its unreadable quality, despite everyone watching it and feeling very strongly.” — Griffin, 75:10–79:01)
• Chalamet’s gift: “He could have just played this role as a straight con man...But he does play it with that sincerity to the point where you can empathize with him.” (Ben, 90:54)
• Marty Supreme as commentary on both Safdie’s career and generational ambitions.

[96:05–101:46] Best Actor Field, Contrarians, and the Shifting Tastes of the Academy

• Analysis of the Best Actor race: “It was like, best actor this year is stacked...and then so many people fell by the wayside.” (Griffin, 95:50)
• Observes that the apparent frontrunners are now unpredictable. Chalamet and DiCaprio are “straddling it somehow. [Their films are] commercial, it's big, it's America...But performances are weirder than you would expect.” (Griffin, 96:42)
• Tension between “prestige formula” and films with friction, ambiguity, and generational conflict (“You can't just be, here's the formula for like, a kind of prestige movie...those things come and go...you have to have a lot of kind of interesting friction to, like, have any staying power.” — Alison, 97:21)

[99:30–103:04] Awards and In Memoriams

• “Ethereal Glow” Award to Wagner Moura’s NYFCC white suit and moving speech (“He was attracting light to himself, and he gave a great speech...made me really think...oh, you are the guy that Timmy has to beat.” — Alison, 100:01)
• “In memoriam”: Richard says RIP to his hope that “Frankenstein” wouldn’t be a contender, ultimately seeing the upside if Jacob Elordi wins: “He is apparently a genius. Did you know this? Like, he’s very, very smart. Jacob Elordi. And really into film.” (Richard, 101:10)
• Lighthearted wrap-up, teasing next week’s episode on “Hamnet” and the peculiar phenomenon of awards season backlash.

Notable Quotes with Timestamps

• “This is the problem. I ordered the few small beers, which did turn out to just be three Modelos served to me at once.” — Griffin, [01:26]
• “If someone was gonna step in the fountain, that was the best possible way for it to happen.” — Alison, [03:23]
• “It is easier for someone to score with a smaller part towards the end because it's about the immediate feelings as you're walking out of the movie.” — Griffin, [24:33]
• “He very clearly understands the Internet in a way that isn’t just generational.” — Griffin, [46:11]
• “If Chalamet wins this year for Marty supreme, he will be four months older than Adrien Brody was.” — Griffin, [47:44]
• “My dad is kind of a Mel. And what we think of as a Mel has changed because the Mel is now people who think the best it ever was was...the new Hollywood 70s.” — Griffin, [65:06]
• “You do have to kind of, I think, going back to your question, Alison, then sort of try to parse out, like, okay, which of these, though, are actually meaningful just in general or have any sort of predictive power? And I think it's actually more it's in aggregate.” — Richard, [17:55]
• “He could have just played this role as a straight con man...But he does play it with that sincerity to the point where you can empathize with him.” — Ben, [90:54]
• “But all babies look like Emory Cohen.” — Alison, [78:37]
• “If there is anyone who is going to be like, an actual A-list leading man, something that...has started to seem like...maybe is done...he is your guy.” — Alison, [53:13]

Key Takeaways

• Chalamet’s Awards Run: Timothée Chalamet is reshaping what an Oscar campaign looks like for young, Internet-native stars—blending eccentric, meme-friendly public appearances with old-school, humble charm when needed.
• Film Themes & Oscar Voter Tastes: Marty Supreme’s abrasive mood, ambiguous ending, and Chalamet’s complex, imperfect lead tap into a new Oscar voter nostalgia for ‘70s antihero movies while pushing the edge on likability.
• Category Shifts: There’s increasing frustration with category fraud and a vocal wish among critics to honor “bit parts” and weird supporting performances that make films pop.
• Industry Dynamics: Oscars voting is deeply shaped by peers’ personal experience, narrative momentum, and perceptions of "who’s due," with the campaign as much about schmoozing and persona management as merit.
• Ambiguity and Discussion: Performances and films that generate discussion, debate, and ambiguity—both in content and in campaign tactics—are maintaining traction in an overcrowded race.

For Next Week

• Focus will shift to “Hamnet” and the topic of backlash in the awards circuit; expect another lively blend of awards analysis and film criticism.

Summary prepared for listeners eager for a deep, conversational, spoiler-steeped understanding of the current Oscar landscape and the buzz around “Marty Supreme.”