When I told Glen Powell he’d been robbed of PEOPLE’s Sexiest Man Alive title, I expected playful outrage. Maybe a little mock anger. A smirk. Instead? Pure class. “I disagree,” he said instantly, defending Jonathan Bailey like a proud campaign manager. “They gave it to the right guy. He’s the man.”
It was the most Glen Powell response imaginable. No trash talk. No faux rivalry. Just admiration. When I pushed again (because what’s an interview without a little chaos?) he doubled down. Bailey deserved it. End of. The only mock complaint he made was that he apparently wasn’t even in contention. And even that came with a grin.
The irony? This was during press for a film where Powell plays a man fighting for survival in the most violent competition imaginable. Yet when it came to Hollywood’s bloodiest battle, the Sexiest Man Alive crown, he waved the white flag with grace. It’s hard to call someone “robbed” when they’re actively congratulating the winner.
And honestly? That easy confidence might be exactly why fans were campaigning for him in the first place. No ego. Just charm.
Jonathan Bailey’s Win… And the Legacy of the Title
Jonathan Bailey’s win wasn’t exactly out of nowhere. The Bridgerton breakout has had a meteoric rise, balancing swoon-worthy romantic lead energy with serious acting chops. And with major projects like Wicked bringing him into blockbuster territory, the timing felt right.
PEOPLE’s Sexiest Man Alive has long been a mix of cultural moment and career milestone. Past winners like Brad Pitt, George Clooney, Michael B. Jordan, and Chris Evans all captured something bigger than just aesthetics; they represented the zeitgeist of their era.
Bailey’s appeal is slightly different. He’s equal parts theatre kid and leading man. He can belt Sondheim one night and headline a studio blockbuster the next. That versatility, combined with the fact that he seems genuinely lovely, made him a refreshing choice.
And Powell clearly gets that.
The Running Man: Powell’s Action Era Begins
Of course, Powell wasn’t on the press tour to discuss magazine covers. He was there to talk about The Running Man, the high-octane reimagining directed by Edgar Wright.
Based on the Stephen King novel (written under his Richard Bachman pseudonym), The Running Man follows a desperate man forced to compete in a brutal televised survival game where hunters track him across the country. It’s dystopian. It’s satirical. And in Wright’s hands, it’s razor-sharp.
Powell’s performance is electric. He brings grit, humour, and just enough swagger to make you root for him while the world literally tries to tear him apart. It’s not just another ‘man with a gun’ action role… It’s layered, political, and surprisingly emotional.
And yes, the action absolutely rips. Wright’s choreography is kinetic and inventive, blending propulsive set pieces with carefully chosen needle drops that feel rebellious and pointed. It’s less wall-to-wall jukebox than Baby Driver, but when the music hits, it hits hard.
If Powell losing Sexiest Man Alive proves anything, it’s that he’s not chasing headlines. He’s chasing great collaborations. He told me he simply said he wanted to work with Edgar Wright, and somehow, the universe aligned. That’s not ego. That’s intention.
And if The Running Man lands the way it feels like it will? Glen Powell might not have the magazine cover this year. But he might just have something even better… A full-blown action-classic era.