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Who Is Glen Powell's Ex-Girlfriend Gigi Paris? All About the Model — Including What She's Said About Sydney Sweeney

Who Is Glen Powell's Ex-Girlfriend Gigi Paris? All About the Model — Including What She's Said About Sydney Sweeney

Yahoo3 days ago

Glen Powell and Gigi Paris dated for nearly four years before their split in 2023
Their breakup came amid speculation that Powell had become romantically involved with his Anyone But You costar Sydney Sweeney, which both Powell and Sweeney have denied
Paris addressed their breakup for the first time on the Too Much podcast in June 2025For the first time, Glen Powell's ex-girlfriend Jehane-Marie "Gigi" Paris is telling her side of the split — including what she thinks about those romance rumors with Sydney Sweeney.
Paris and her boyfriend of nearly four years broke up in early 2023 amid fan speculation that Powell and Sweeney, who costarred in Anyone But You, had become romantically involved while filming the rom-com.
But Powell told The New York Times in April 2024 that he and Sweeney just used the romance rumors to their advantage while promoting the film.
'The two things that you have to sell a rom-com are fun and chemistry," he said. "Sydney and I have a ton of fun together, and we have a ton of effortless chemistry. That's people wanting what's on the screen off the screen, and sometimes you just have to lean into it a bit — and it worked wonderfully."
In June 2025, Paris appeared on the Too Much podcast to address her breakup from Powell, sharing that she felt the actor was more concerned with selling a movie than protecting their relationship.
"I just wanted respect," she said. "Like, don't make an ass out of me. And at the end of the day, it was like, well, work comes first. And if that's the case, power to you, that's your priority. I gotta walk away. What sucked was how it was handled. I felt like I was just fed to the dogs."
So who is Glen Powell's ex-girlfriend? Here's everything to know about Gigi Paris.
Paris was born in Coconut Grove, a neighborhood in Miami.
She spent her younger years in the city but eventually moved to Los Angeles, where she lives "right beneath the infamous Hollywood sign," she explained in an interview with In the Face of Others.
Paris has worked as a model since she was discovered when she was just 14 years old. One of the first jobs she booked was with Seventeen magazine, which she says was a huge moment for her as a young model.
"I was 14 when I first started and I had never thought about modeling … like, it never occurred to me. When I first started, I booked Seventeen magazine, which was like 'Whoa!' For a little 14-year-old girl, I was so excited," Paris explained in a 2012 interview.
Since then, she's booked campaigns with brands like Revolve and Nordstrom, and even walked the runway during Mercedes-Benz Fashion Week Swim in 2015.
While it's not known exactly when Paris and Powell began dating, they were first spotted together while vacationing in Punta Mita, Mexico, in January 2020, in photos obtained by the Daily Mail. At the time, the couple hadn't confirmed their relationship but were seen cozying up in the water and sharing a kiss on the beach.
Then, a month later, Paris was by Powell's side while he attended WCRF's "An Unforgettable Evening" event — although they didn't walk the carpet together.
Paris and Powell had been a rumored couple for over a year by the time they made things Instagram official in 2021. On Valentine's Day, they each shared photos from their adventures together along with sweet captions dedicated to one another.
"Here's to you 💖," Paris captioned her photo, while Powell wrote, "My Ride or Die. Happy Valentines Day, y'all!"
In November 2021, Powell and Paris stepped out on the red carpet together for the first time at the annual Guggenheim International Gala.
Just a few days later, the couple followed up with another red carpet event when they attended the New York Moves 2021 Power Women Gala.
Although Paris was born in the United States, both of her parents immigrated to the country when they were young. Her mother originally hails from France, while her father was born in Venezuela. The couple eventually met when they both attended the University of Miami. Paris says her diverse cultural background has shaped who she is as a person.
"I identify with many different cultures, so I don't really identify with anything in particular. I call myself a little 'mut' of sorts. I like to think, we as people, are all one," she told In the Face of Others.
Paris made her music video debut when she starred in Keith Urban's video for "Somewhere In My Car" in 2014.
In the video, the model shares some steamy scenes with her male costar as they make out inside of a car in the middle of a rainstorm.
In 2019, Paris traveled to Bali to train to become a yoga instructor. She spent 300 hours learning about the craft, and by the end of her stay, had earned her certification. The model now occasionally teaches yoga classes, both online and in person.
Paris later wrote about the trip on Instagram, saying, "This trip is hard to put into words, but to say the least, I went in without any idea of how much it would change my life."
She continued, "But I'm most thankful for the gift I came home with: the capability of teaching something that can benefit others. This practice has not only strengthened my body & mind but opened my heart to the unlimited. I strongly suggest to follow your dreams, no matter what they may be & know that the universe will always have your back!"
Paris owns her own clothing brand, Jijou Paris, which she launched in 2021. The company sells hand-dyed silk garments inspired by "natural raw beauty," per Instagram, including dresses, shirts and loungewear. Powell even once served as a model for the brand.
"Thank you to everyone who has helped make this possible. I can't even begin to describe how rewarding it is to see this come to life," Paris wrote following the brand's launch.
Paris has accompanied her movie star ex-boyfriend on many red carpets.
In January 2023, Paris and Powell attended the Golden Globes together. She stunned in a sheer gold gown, while her beau looked handsome in a black tuxedo.
After nearly four years together, Paris and Powell went their separate ways in early 2023. The model sparked breakup rumors in April 2023 when she unfollowed Powell on Instagram and shared a cryptic post.
"Know your worth & onto the next," Paris captioned a video of herself walking down the streets of New York City and smiling.
PEOPLE confirmed the rumors later that month, with a source exclusively sharing that they had broken up "several times" over the years.
"They had been on the rocks since Top Gun came out. Gigi was never happy with the long-distance filming," the source said. "When she came to Australia [where Powell was filming Anyone But You], they both decided to break up for good."
Fans speculated that a romantic relationship between Powell and Sweeney was to blame for the split, which Sweeney denied in August 2023 during an interview with Variety.
"It's a rom-com. That's what people want!" she said. "Glen and I don't really care. We have so much fun together, and we respect each other so much; he's such a hard worker, and I'm a hard worker."
The Euphoria star added: "They want it. It's fun to give it to 'em.'
Roughly seven months after calling it quits with Paris, Powell told Business Insider that it was challenging to promote a rom-com while going through a breakup.
"I was with someone that I really loved and cared about and was trying to kind of make sense of a lot of stuff," he shared. "It was a lot easier for Sydney to lean into something like that because she's in a very committed and wonderful relationship, and she's very happy. So it was a little harder for me."
Paris broke her silence about her breakup from Powell on the Too Much podcast in June 2025. The model expressed that, at the time, she felt she had two options: go along with Powell and Sweeney's alleged "PR scheme" to promote Anyone But You, or stand up for herself.
"I could either pretend like I was going along with everything and have everyone wonder, like, 'Are they hooking up? Are they not hooking up? Is she okay with this? What the f---?' Or stand up for myself and say, 'No, I'm actually not okay with this, and I'm walking away.' So that's what I decided to do ... I was shattered," she explained.
Paris went on to suggest that if Powell had publicly shut down the romance rumors between him and Sweeney, they might still be together.
" 'I would never cheat on my girlfriend. I wouldn't do that.' That's all that needed to be said. And that wasn't said ... never once," she continued. "And I honestly hoped that they'd end up together, because I was like, at least it would make it worth it for me, you know? I hope they are in love or whatnot."
Representatives for Powell and Sweeney did not immediately respond to PEOPLE's request for comment.
Read the original article on People

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How F1 Went Hollywood
How F1 Went Hollywood

Yahoo

time4 hours ago

  • Yahoo

How F1 Went Hollywood

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NYT ‘Strands' Hints For Saturday, June 14: Spangram And Answers For Today's Game
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Forbes

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NYT ‘Strands' Hints For Saturday, June 14: Spangram And Answers For Today's Game

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Celine Song's Materialists Tries to Subvert the Rom-Com
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Yahoo

time5 hours ago

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Celine Song's Materialists Tries to Subvert the Rom-Com

In the scant verdure of a steep, rocky landscape, a man in earthy rags sets down a bag of crude tools and picks out a single white flower, then loops its stem around the finger of a woman in a fur pelt. From our present vantage, on the other side of some millennia, the gesture is laden with all kinds of meaning: a marital promise, an exchange of goods—or just a token of animal affection? But the prehistoric ur-couple radiate a kind of naïve clarity, their faces brimming with the joy they find in each other. This is the brief and unexpected opening of Celine Song's Materialists, a prologue that announces a certain loftiness in the film's premise. Or in spite of it, as a sudden cut flings us into the classic opener of many a millennial rom-com: the cosmopolitan heroine at her vanity, getting ready for her white-collar job in the big city. We meet our protagonist, Lucy (Dakota Johnson), in a sunlit montage of her morning routine somewhere in downtown Manhattan. Twenty years ago, Lucy would've probably been a media worker—an advice columnist; a magazine editor—but in this economy, she's the star employee of a high-end matchmaking company, with no fewer than nine weddings under her belt. With a client pool of private equity managers and CFOs, Lucy is aware of how her ivory satin blouse and artful flashes of silver jewelry command a certain type of attention, her body a bundle of class signifiers that quietly telegraph wealth. Within minutes in public, she has handed her business card to a man who eyes her on the street. His look is forthright, primal; hers is never so simple, subjecting his romantic potential to a private, discerning calculus. What better genre than the rom-com to stage a confrontation between personal desire and social expectation? Across the late 1990s and early 2000s, a boom in rom-com production shaped the mainstream cultural register, with box-office hits like Hitch (2005) and My Big Fat Greek Wedding (2002) redefining the genre's metrics of commercial success. After a relative lull in the 2010s, a recent wave of mid-budget productions—including Anyone but You (2023), starring Glen Powell, the toothy leading man of the moment, and last year's fan fiction–inspired The Idea of You—suggests a resurgence of earnest stories about lovelorn individuals entwined by chance and locked in a pas de deux with life's foibles. Materialists seems to ride this momentum while purporting to offer something more cerebral and subversive. Lucy is a hawker of romantic promise who approaches her own love life with mercenary pragmatism. The catch, of course, is that her methodical system of computing value trips on the unknown variable of the human heart. We're introduced to the duo that tests the certitude of her professed desires at the extravagant wedding of a wealthy client. There's the older, smooth-talking Harry (Pedro Pascal), an investment banker and brother to the groom, at ease in the grandeur of gilded rooms with vaulting ceilings and dripping chandeliers. A single calla lily sits in the boutonniere of his pristine tux; a luxury watch curls around his left wrist. Then there's John (Chris Evans), a struggling theater actor-cum-cater-waiter and proud Bernie voter with a broad Bostonian drawl, his only commending factor a romantic history with Lucy. If Harry seems to promise a life of ballrooms and grand entrances—of taking up space—John is all table-side interruptions and stolen moments at the staff exit. The first time we see Lucy and John speak privately, it's in the loading zone outside the reception venue, sneaking a cigarette and a catch-up as he packs up the catering van. In Lucy's line of work, everything begins with the quantitative. Client lists of nonnegotiables read like a barrage of demographic data, familiar to anyone who has ever used a dating app: six feet; BMI under 20; income over $500k; not a day older than 30. This numerical fixation is so pervasive that Lucy likens being a matchmaker to working at the morgue or at an insurance company. But among present or future clients, she flips a switch, pivoting to her sales pitch: the dream of a lifelong love. 'Who our partner is determines our whole life,' she says to a gaggle of rapt young women at the wedding reception, handing out her business card. Whenever someone assumes she must have some preternatural instinct for romantic compatibility, Lucy dispels the suggestion with a pithy refrain. It's just math, she repeats, over and over—which is how we know it isn't. As any good salesperson can tell you, you need to buy into the fantasy, even just a little, if you really want to sell it. It should be simple. Harry is, in Lucy's words, 'an impossible fantasy.' He's tall, handsome, generationally wealthy, the sole proprietor of a $12 million penthouse, and insistent on dating Lucy. Ever the savvy rom-com heroine, Lucy thinks she knows what she wants (to marry a very, very rich man), and what she's worth (not much, according to herself). But on their early dates, as they traverse one pricey, candlelit joint after another, she equivocates: 'I don't know if I like you, or if I like the places you take me.' If Lucy's job has overexposed her to the vast pool of eligible women and calcified her low self-esteem, it's amplified a confidence in her own canniness. She sees her appearance as less of an asset than her knowledge of its comparative worth, and believes her hard-won self-awareness will be enough to protect her, like the carapace of her pessimism. Contrary to the clamor around contemporary dating and its miserable vernacular of objectification, market metaphors for courtship are nothing new. In 1941, an issue of the now-defunct Senior Scholastic magazine quoted two unnamed boys who shared their thoughts on dating: 'Going Steady is like buying the first car you see—only a car has a trade in value later on.' Early in Materialists, Lucy and a co-worker insist that, when it comes to height, 'six inches can double a man's value on the market.' The language of commodity persists. Your love life is a major investment; you're looking for someone who's the whole package; you're either on or off the market. It's no coincidence that the emergence of dating as a social phenomenon (at least in the West) is roughly contemporaneous with major economic transformations in the early twentieth century. Prior to the last century, the pairing of two individuals was most often mediated by family members or community leaders. The practice of moving through a roster of potential partners corresponded with more women entering the workforce, a growing leisure class, and mass urban migrations, among other shifts. The historical transformations in how we conceptualize dating and marriage should generate friction in their contradictions. In one direction, the pull of pragmatism; in the other, love as sacred and ineffable. But in Materialists, what is it about 'modern dating' that Song hopes to articulate? As with her debut feature, Past Lives (2023), which sourced its themes about the cultural rupture and homeward longing of first-generation immigrants from Song's own life, the director draws on personal experience for Materialists. She worked as a matchmaker after moving to New York over a decade ago, and in her six months on the job, she has said, she learned more about people than she did at any other time in her life. 'I knew more than their therapists,' she has related in interviews, a line that Lucy's boss utters almost verbatim in the film. But for all Song's efforts to interrogate the frank materialism of contemporary dating, the film's ideas feel somehow anachronistic, as if they've been caught in a buffering delay. Raya is now 10 years old, and the glut of think pieces and Substack posts about the various travails of online dating could constitute their own subgenre. If Materialists had burst into the early 2000s, during the Sex and the City era of politically anesthetized escapist media (how does a freelance journalist afford an apartment like that in Manhattan?), Lucy's unabashed pursuit of wealthy men might have seemed bolder in its class confrontations. But now, when you can buy No Ethical Consumption Under Capitalism T-shirts from Amazon, and the phrase 'emotional labor' has become both an inducer of eye rolls and a weaponized microaggression, the revelations in Materialists are mostly tepid. The film's insistence on its own universalism, too, plays like a needless foil to Past Lives and its engagement with the minutiae of interracial dating and cultural identity. Perhaps the starkest instance of departure from genre here is the absence of a vital rom-com trope: the token best friend or zany sidekick who varyingly challenges or affirms the protagonist's love life. The lack of friendship in the film becomes baffling to the point of distraction. When one of Lucy's former clients is being stalked by the man who assaulted her, she calls Lucy, panicking, because she doesn't have 'any friends in the city'; when Lucy backs out of a trip to Iceland with Harry and needs a place to crash, she shows up at John's front door, because—why, exactly? How many years has she been living in New York? Every character is either a co-worker, client, or a potential lover. The film's hermetic exclusion of other communal arrangements unwittingly reflects how the parochial pursuit of romance itself can be a consequence of social alienation. In the latter half of Materialists, its ideas start to feel belabored, more contrived. The issue, though, is not narrative contrivance, arguably the very source of genre films' pleasures, the affective certainty of their unfolding tropes; it's that the dialogue is often jarring, oddly forced. It reflects a broader problem with the writing: It's apparent that certain ideas are imposed onto characters instead of emerging from them, as if they are mouthpieces for wide-ranging observations about relationships and risk. This verbosity is likely a carryover from Song's background as a playwright, allusions to which pepper the film. We see John performing in a play wherein his delivery is coldly Brechtian, discernibly experimental, and alienating to Harry; there's the briefest flash of an Antonin Artaud poster in his apartment. Even if the financial allegories strewn into the characters' speech sound stilted by design, the sheer volume of these lines begins to feel intrusive. Materialists' strength, however, is in its casting, especially of Lucy's earnest paramours. Pascal softens the off-puttingly perfect Harry with enough sincerity to make him endearing, and Evans has perfected the disarming look of a wounded, heartsick fool. In the wedding scene, the groom's father opens his speech with a thesis on love—'the last religion, the last country, the last surviving ideology'—and for all the film's shortcomings, the performances almost make you believe it.

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