Glen Powell is the latest Hollywood star to say he would rather not discuss politics in interviews, telling Esquire that political conversation has become too divisive to be useful. The actor, who appears on the magazine's latest cover, said his reluctance is rooted in his upbringing and in what he sees as the corrosive nature of modern political debate.
Powell told the magazine that he grew up in a household where current events were not discussed at the dinner table, and that the experience shaped how he approaches public life. «Over time, I realized that politics divide people,» he said. «People trying to prove their point — for me, it's the worst version of a conversation.» He added that engaging in that kind of discourse is «not presently possible» for him.
The comments place Powell alongside a growing number of A-list performers who have decided that political commentary carries more risk than reward. Powell's mother worked in the Reagan administration at the U.S. Treasury Department, a biographical detail that makes his decision to stay out of political fights notable. He did not criticize any particular party or politician, instead framing the issue as a matter of tone and temperament.
Powell also addressed the disappointing performance of his film The Running Man, which he attributed in part to a marketing collapse at Paramount. According to Powell, the studio laid off its entire marketing department around the time the film was being positioned for release, leaving the movie without the promotional push it needed. He described the situation as a structural failure rather than a creative one.
The actor's remarks offer a rare public window into how studio upheaval can affect a finished film. The Running Man, an adaptation of the Stephen King novel previously brought to the screen in 1987, arrived with a built-in audience and a recognizable star, but it failed to generate the kind of opening that would justify its budget. Powell's explanation suggests that the film's fate was sealed behind the scenes before audiences ever had a chance to weigh in.
Paramount has undergone significant corporate restructuring in recent years, with layoffs across multiple divisions as the studio adjusts to a shifting theatrical and streaming landscape. Marketing departments have been particularly vulnerable as studios consolidate publicity and distribution operations. Powell's account, if accurate, would make The Running Man one of the clearest examples yet of how those cuts can directly affect a film's commercial results.
Powell remains one of the busiest actors of his generation, with credits including Top Gun: Maverick and the series Chad Powers. His decision to avoid political interviews is unlikely to hurt his standing in an industry where stars increasingly treat partisan commentary as a liability. Instead, he has chosen to focus on the work itself and on the business realities that shape whether that work finds an audience.
For readers who follow the intersection of celebrity and public life, Powell's interview captures two trends at once: the retreat of major stars from political engagement, and the growing fragility of film marketing in an era of studio contraction. Both themes are likely to keep surfacing as awards season approaches and as more actors are asked to explain not just what they believe, but whether they believe it is worth saying out loud.