Sydney

IT CAN’T be easy dating red-hot Sydney Sweeney – just ask her new boyfriend Scooter Braun.

Everyone wants a piece of Sydney right now, and The Sun has bombshell insider knowledge that reveals the truth about the couple’s struggles as countless men compete for her attention.

A-list fame comes with complications – particularly for Scooter, 44, who sources say is struggling to adjust and gets nervous when 28-year-old Sydney takes “me time”.

Premier League footballers have also been “constantly” sliding into her DMs, with some tracking down her private number, sources say.

Scooter finds the persistence “incredibly disrespectful,” even though Sydney blocks and ignores them, according to the insiders.

The Hollywood couple went public last August, shortly after she confirmed her split from longtime partner Jonathan Davino.

They got engaged in 2022, but announced last March that they were now spending time apart.

Sydney, however, didn’t waste any time moving on, with her and new boy Scooter not shy about their blossoming love.

They have been spotted kissing in Los Angeles following the premiere of her new film, and later spent Thanksgiving together at Sydney’s Florida Keys home.

Behind the scenes, however, tensions are beginning to boil.

Insiders claim Scooter was left “furious and disrespected” late last year after Sydney met Davino in LA – a situation that sources say crossed a line for the 44-year-old music executive.

Despite that, friends insist the relationship remains serious.

One well-placed source says the friction has been sparked by differing expectations, especially in the eyes of “old school” Scooter.

“Sydney has always been fiercely independent,” the insider explains. “She values time alone — whether that’s travelling by herself, going out with girlfriends, or just switching off. Scooter prefers togetherness, and he’s still adjusting to that.”

Recent Instagram posts showing Sydney enjoying a dreamy solo trip to snowy Lapland only fuelled speculation. She appeared carefree, glowing and having the time of her life — though it remains unclear whether Scooter joined her.

FRIENDS ARE WORRIED

Friends have also raised concerns about the couple’s 16-year age gap.

While Sydney has dated older men before — Davino is 41 — some social media barbs have struck a nerve with Scooter.

It’s not hard to find negative comments about the pair online.

Everything from “Scooter is stalking out his next payday” to “he is way too old for her” have flooded the comment sections about their relationship.

Some hit harder than others.

“What a step down,” one online critic snapped. “But he does have contacts and is super rich so I see what she is doing here.”

Another blasted the pairing was “gross” and that Scooter “isn’t good enough and definitely not good enough looking.”

The music executive was also slammed as a “red flag” and ridiculed as a “limp piece of spaghetti”.

The swathes of negativity have been hard to handle for the New Yorker.

“He struggles with the mockery,” the source says. “He’s still learning that she doesn’t need permission or reassurance to live her life.”

Those sensitivities may be shaped by Scooter’s bruising past.

His very public feud with Taylor Swift in 2019, sparked by the sale of her masters, left his reputation in tatters and it may never recover.

Scooter wants to build a long-term future with her.

Sydney Sweeney insider on her new flame

High-profile clients drifted away, his marriage ended, and Scooter later admitted the episode took a severe toll on his mental health.

He has spoken openly recently about having suicidal tendencies.

In recent years, however, he has consciously stepped back from the industry spotlight.

Scooter has focused on charity work and personal growth — and hoping to build a life with Sydney.

After a run of box-office disappointments, Sydney appears to have struck gold with thriller The Housemaid.

Made for around £25 million, the film has already grossed £100 million worldwide and earned strong reviews.

Indeed, it’s been such a success that there are already plans in the works for a blockbuster sequel.

With an estimated net worth north of £30 million, Sydney is officially Hollywood’s hottest property.

Not bad for a girl whose cash-strapped family were forced to leave the humble surroundings of Spokane, Washington and were forced into bankruptcy while attempting to turn her into a star.

Now, however, the spotlight is shining brighter than ever on Tinseltown’s new golden girl never stops.

Neither does the rush for her affections.

Sydney told The Sun last year that her DMs are “not a safe space,” and the messages keep coming.

Premier League stars from England’s top clubs have been bombarding Sydney with messages – but she never replies, insiders say.

“She’s completely transparent,” one source adds. “She shows him everything to be honest. Seeing how relentless some of these men are can upset him — but she always reassures him.”

The jealousy doesn’t bother her though.

“She likes seeing him get a little jealous,” the insider says. “To her, it shows he cares and is fully invested.”

Scooter knows he’s dating a global star, and a modern sex symbol.

He is quickly finding out loving Sydney doesn’t just mean trusting her — it means learning to share her with the world.

“Scooter wants to build a long-term future with her,” concluded the source.

Only time will tell if his dream becomes a reality.

The Sun has approached Sydney and Scooter for comment.

Bethell’s century, which took the tourists to 302-8 and a lead of 119, makes the 22-year-old the seventh youngest man to score a Test hundred for England against Australia.

Having come in during the first over, he strolled to the nineties but 29 balls passed with Bethell a hit away from a century.

Harry Brook, England’s vice-captain, wafted and waved at Mitchell Starc bouncers at the other end. Bethell’s dad, Graham, took deep breaths in the stands.

It was the man that mattered most who appeared the calmest of all.

Bethell had, of course, been here before.

In November 2024, he reached 96 against New Zealand in his second Test, only to nick behind off Tim Southee.

His response afterwards, that it would have been “flair” to “smack that through the covers” hinted at Bethell’s freer side – the one that had him pictured doing the YMCA during England’s ill-fated mid-Ashes trip to Noosa.

This hundred showed all of his maturity that is so highly regarded by England – and what persuaded them to make him their youngest captain on last year’s white-ball tour of Ireland.

“He played in a way that Test cricket has been played for many generations,” said former England captain Michael Vaughan on Test Match Special. “You respect the ball and have good technique.

“It was a technical masterclass. A masterclass in composure and calmness.

“The strokeplay, when he got a chance to score, he didn’t try to overhit it. We have seen a batting masterclass from someone who let the ball come.

“He didn’t hit the ball in the air that often. It was a throwback.”

Though the landmark came with a flick for four over mid-wicket off Beau Webster’s spin, Bethell’s first ton was moulded in a style from the old school.

While defending the danger area around his stumps, he timed back-foot punches rather than slashing cuts and clipped from his pads to keep the score moving.

A glorious on-drive off Michael Neser was the highlight and a dismissive pull off Cameron Green through mid-wicket a statement.

“I had two shots and a half,” said Cook, famed for his cuts, pulls and clips, on TNT Sports.

“Four shots would help anyone be world-class. He has guts and determination.

“There were some really tough balls but he has a nice solid technique down the ground.

“Clip, pull, drive and cut. A classic number three innings.”

Root has been feast or famine in this series. Until this Test, his landmark century in Brisbane was one of only two occasions when he passed 20. In Sydney, the city where he was dropped for the only time in his Test career and once batted himself into hospital in extreme heat, the former captain was outstanding.

Without Root, England would have squandered their promising overnight position of 211-3. Harry Brook played a limp poke at Scott Boland to be caught at slip for 84 and Stokes edged a beauty from Mitchell Starc for an 11-ball duck, meaning the tourists lost 2-3 in four overs.

On one hand, Smith’s role in a stand of 94 with Root was valuable, but the wicketkeeper was fortunate to last so long. He was caught off a Cameron Green no-ball on 22, then edged and miscued the same bowler. The dismissal to Labuschagne’s bouncer plan as the second new ball approached was an appalling piece of cricket.

By this point, Root had moved to three figures from his overnight 72. After edging Neser over the slips on 94, he drove the same bowler down the ground to join Australia great Ricky Ponting on 41 Test tons – only India’s Sachin Tendulkar and South Africa’s Jacques Kallis have more. He celebrated with the same shrug of the shoulders he pulled in Brisbane.

On he went, adding 52 for the seventh wicket with Will Jacks. He passed 150 for the 17th time in Tests – only four other players have done so more.

Root eventually offered a leading edge to a diving Neser in the bowler’s follow-through, part of England’s final collapse of 4-9. After more than six and a half hours at the crease, he later left the field holding his lower back, and England face an anxious wait on his condition.

While a 3-2 defeat would clearly read a lot better for England than 4-1, it would be even more frustrating in many ways because it would only add to a feeling of what could have been.

England could have won this series given the Australia XIs they have been up against and the situations they have been in, had they been stronger mentally and better tactically.

They cannot think like that going into the next Test, of course.

Even if a 3-2 scoreline would frustrate, it may save jobs when the review does come after this series with a win even more important for the coaching staff than the players.

These players are good – the likes of Harry Brook, whose talent is exceptional, or Zak Crawley, whose innings in the second innings in Adelaide should give him a template for the future.

I would hate for them to be thrown out in an upheaval.

England showing they have adapted and learned from the mistakes made in Perth and Brisbane would reflect the work done by the coaching staff.

That is important going forward.

In contrast, I hope Australia are hurting after defeat in Melbourne and use that to spur them on.

They have played so well to get to this point, coping impressively with captain Pat Cummins, fellow frontline bowler Josh Hazlewood, spinner Nathan Lyon and Steve Smith all missing at times.

They have done the important bit in winning the series but you do not want to take your foot off the gas.

Was Cummins rested for Melbourne because there are genuine fitness concerns? If so, that is fine but this is still an Ashes series. You have to put a high price on every Test match.

Jake Weatherald needs a score to secure his future, having failed to pass 20 in any of his past four innings.

All-rounder Cameron Green will come under pressure for his place from Beau Webster after his poor run, though I still think he will have an amazing career when he settles back into Test cricket following his injury absence, and I am surprised Usman Khawaja has not already announced this will be his final Test aged 39.

I retired after the Sydney Test of the 2006-07 series, along with Shane Warne and Justin Langer. Damien Martyn also called time on his career earlier in the series.

Warney and I spoke about the prospect of retiring before the Perth Test, at which point we were 2-0 up. The last thing we wanted to do was make an announcement while the series was still live.

Our win in Perth, when Adam Gilchirst scored an incredible hundred, allowed us to announce our decisions but that only placed even more importance on the next two Tests.

The fact we finished in such a dominant fashion is something I am really proud of.

There was never any talk about dead rubbers and there should not be now.

As ever, the Sydney Test will be a special occasion for me and my family.

This will be the 18th ‘Pink Test’ where we raise money in the name of my late wife Jane and last year we broadened the reach of the foundation to cover all types of cancer as well as breast cancer.

It can be emotional but is an occasion unique in sport given the scale – one that I view as a celebration of life.

I just hope we have more than two days of play this time…

Gus Atkinson has become the third England pace bowler to be ruled out of the Ashes series after confirmation he will miss the final Test against Australia in Sydney.

Atkinson suffered an injury to his left hamstring on the second and final morning of England’s win in the fourth Test in Melbourne.

The tourists will not call up a replacement, leaving Matthew Potts in line to play in the fifth Test at the Sydney Cricket Ground on Sunday (23:30 GMT on Saturday).

Atkinson joins Mark Wood and Jofra Archer in failing to complete the series because of injuries. All three were in England’s first-choice XI for the first Test in Perth.

Wood has not played since Perth because of a knee issue, while Archer was ruled out after three Tests because of a side strain.

Surrey’s Atkinson struggled in the first two Tests, managing only three wickets, and was subsequently left out of the third.

The 27-year-old looked nearer his best when he was recalled for the fourth Test, taking three wickets and making 28 with the bat in England’s first innings.

He grabbed his left hamstring at the end of the fourth over of his spell on the second morning and immediately left the field. Atkinson played no further part as England completed a four-wicket win later the same day.

There is no confirmation on when he will return to the UK, at which point he will be assessed further. Earlier this year Atkinson spent two months out with an injury to his right hamstring.

Atkinson’s absence leaves Durham’s Potts in line to add his to his 10 Test caps and make an Ashes debut.

The 27-year-old has not played a Test match since the defeat by New Zealand in Hamilton last December.

A regular in the first summer of the Ben Stokes-Brendon McCullum era, Potts has made sporadic appearances over the past two years. His previous seven caps have come against six different opponents.

WITH her steamy shower scenes and sexy outfits, you might assume the much-hyped Sydney Sweeney is the centre of attention in new thriller movie The Housemaid.

Instead, critics are raving about her older co-star Amanda Seyfried as the standout of the film that hit UK cinemas yesterday.

Mamma Mia! actress Amanda, 40, is tipped for an Oscar nod for The Testament Of Ann Lee, which is out in February and sees her play the founder of the Christian fundamentalist Shaker Movement in the 18th century.

But it is The Housemaid, based on the same-named bestselling 2022 novel by US author Freida McFadden, that will be putting bums on seats first.

In the sexy flick, Amanda plays deranged housewife Nina Winchester, who hires 28-year-old Sydney’s Millie Calloway to take care of domestic chores and her daughter.

But nothing is what it seems in this psychological potboiler as Amanda — also famed for 2004 teen movie Mean Girls, as a student who believes her breasts predict the weather — steals the show.

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Revelling in the role, she teases: “It’s dark as s**t. But when you get opportunities like that — to go nuts, go anywhere — I’m so happy I can still do it.

“There were ample opportunities for me to play unhinged, and playing unhinged is delicious. I had so much fun.”

In The Housemaid trailer, the two co-stars appear to be at each other’s throats. There is shouting, screaming and knives are reached for.

But in real life, fellow Americans Amanda and Sydney became great pals while making and promoting the film.

‘She’s a sweetheart’

For a bit of fun together, they even took a lie-detector test for Vanity Fair magazine, with a very animated Amanda asking Sydney whether her breasts were real.

Sydney is now caught in a storm over her recent “great jeans” ad, as some claimed its pun on “genes” hinted at white supremacy.

But Donald Trump, hailed it “the hottest ad out there”.

There have also been online rumours of her having romances with co-stars including Housemaid actor Brandon Sklenar and Glen Powell, who Sydney got steamy with in 2023 rom com Anyone But You. None of it was true.

Amanda knows about falling for a co-star, having dated Dominic Cooper from 2008 film Mamma Mia! for three years before the British actor reportedly broke her heart.

But asked about all the hype around pin-up Sydney, she told Vanity Fair: “I don’t envy anything she’s going through.

“I’ve spent a lot of time with her, we just hit it off immediately. She’s a sweetheart. I did not have a moment like she’s having, ever.”

If Sydney ever wanted to know more about the ups and downs of fame, Amanda would be a great person to chat to.

People would run into me and kids would be like, ‘Hey, can you tell us what your boobs are thinking?’ I got that so often, but I didn’t mind it’

Amanda Seyfried

Her pharmacist dad Jack and mum Ann, an occupational therapist, brought her up on a college campus in Allentown, Pennsylvania.

At school, Amanda started modelling then, in her teens, broke into acting with roles in US soap operas As The World Turns and All My Children.

This led to the “liberation and freedom of living on my own in New York City”, as her career took off.

She says: “I was having so much fun — paid a thousand dollars a day and working, like, three times a week — for a 17-year-old.”

The dream seemed to be over when the TV work dried up, and she enrolled at college.

But then an audition for mega-hit Mean Girls, which starred Lindsay Lohan and Rachel McAdams, saved her career.

Amanda says: “I was just happy to be working — big cheque.”

But playing that student who believes her boobs have superpowers led to some pointed questions from admirers.

She recalls: “People would run into me and kids would be like, ‘Hey, can you tell us what your boobs are thinking?’ I got that so often, but I didn’t mind it. I did my job, good enough, I guess.”

Four years later, she got the lead role of Sophie in Abba-inspired smash-hit movie musical Mamma Mia!, alongside Meryl Streep.

Amanda says of the much sought-after part: “I can’t f***ing believe I got that role but it felt like something I should be doing, could be doing.”

She was on a roll as further box-office success followed, including 2009 comedy-horror Jennifer’s Body with Megan Fox, 2010 romantic drama Dear John with Channing Tatum, and 2012 hit Les Miserables.

But not all of her career choices turned out well. She passed on the role of green alien Gamora in 2014 superhero blockbuster Guardians Of The Galaxy, only for it to take nearly £600million worldwide and spawn a pair of sequels.

The part was played instead by Zoe Saldana. Amanda says: “The offer came in and I was like, ‘I should take this, right? But this is going to be Marvel’s first bomb and I do not want to be ruined for the rest of my life. Who the f is going to see a movie with a talking raccoon?’”

But her later decision to star in an off-Broadway play in New York called The Way We Get By in 2015 was to have a major impact on her personal life. Co-star Thomas Sadoski would become her husband two years later.

She says: “We met, we came very, very close, and then we started seeing each other a year later — and now we have kids [a daughter born in 2017 and son born in 2020].”

Amanda had never intended to be a mum because she feared it might ruin her career.

But she says: “If you’re lucky enough to accidentally get pregnant, which was me twice, I’m just like, thank God. I would have been, ‘I’m too busy’, ‘I’m gonna disappear from Hollywood and it’s gonna be hard to get back on track.’”

If you’re lucky enough to accidentally get pregnant, which was me twice, I’m just like, thank God. I would have been, ‘I’m too busy’, ‘I’m gonna disappear from Hollywood and it’s gonna be hard to get back on track.’

Amanda

In reality, after getting pregnant, Amanda took only a few months off and discovered she was being offered “mum” roles by casting directors.

She says: “There’s something that happens to you when you become a mother or a father.

“You know, when your life no longer matters as much and you can’t live for yourself any more.

“That sacrifice also is very enriching and the roles got better. But it was funny how fast that happened. They’re like, ‘She’s pregnant. Is she pregnant? Oh, she had a baby. Oh, yeah, no, she’s a mom. She’s a mom now.’

“But I did play one character where I was not a mom, since then.”

One mum she played was silent film star Marion Davies in Gary Oldman’s 2020 movie Mank, about alcoholic screenwriter Herman J. Mankiewicz railing against 1930s Hollywood society while completing the screenplay of 1941 movie classic Citizen Kane.

That led to a Best Supporting Actress Oscar nomination in 2021, which in turn secured a starring role in the Disney+ series The Dropout, for which she won an Emmy and Golden Globe.

‘Weird dance’

Amanda says: “Going to the Oscars, you’re like, ‘I’m just happy to be here’, honestly. But it brought me up the casting list. I got the offer for The Dropout the next day.”

But there were restrictions on playing real-life character Elizabeth Holmes in The Dropout because the medical fraudster was not convicted until January 2022.

The programme’s lawyers even advised against sex scenes.

Amanda says: “Every script went through a team of lawyers.

“We couldn’t say certain things, we couldn’t do certain things. We couldn’t show them making love, so we had that weird dance scene because that was their foreplay.”

Every script went through a team of lawyers. We couldn’t say certain things, we couldn’t do certain things. We couldn’t show them making love, so we had that weird dance scene because that was their foreplay

Amanda Seyfried

Fast-forward to now, and her title role in upcoming period drama The Testament Of Ann Lee, about the UK-born Shaker Movement being taken to the US by Manchester lass Ann in 1774.

It sees Amanda shake ecstatically as the ultra-puritanical sect, which avoided earthly pleasures such as sex, celebrated the Almighty.

Also known for their pacifism, the Shakers’ number peaked in the mid-19th century but then declined with industrialisation, with only one active community remaining today, in Maine. Amanda says of Ann: “Nobody could have sex because sex, she thought, was the root of all evil — the root of why she was in so much pain.

“She had got pregnant and lost her babies.

“The idea that taking sex away could make you closer to wholeness is kind of beautiful. I think she’s nuts and also very cool.”

But despite her impressive credits reel, Amanda still reckons she must battle to stay on the “list” of most-wanted actresses in Hollywood.

She says: “These f***ing lists. Every time I’m auditioning it’s like I fluctuate. I fall down the list, I go to the top of the second list or keep going back to the bottom of the first list, and it’s like, I’m lucky to be on the list at all.”

But after The Housemaid, she shouldn’t need to worry about being on that Tinseltown A-list.

EROTIC AND CAMP

THE HOUSEMAID (15) 131mins

★★★☆☆

By LINDA MARRIC

A GLOSSY, erotic thriller that is as hilariously camp as it is suspenseful.

Adapted from Freida McFadden’s smash-hit novel by director Paul Feig and screenwriter Rebecca Sonnenshine, Sydney Sweeney stars as Millie, a young woman fresh out of prison.

She takes a live-in maid job at the lavish home of wealthy couple Nina and Andrew Winchester (Amanda Seyfried and Brandon Sklenar).

What initially promises a fresh start for the young woman, quickly turns into something far stranger as Nina’s wildly erratic behaviour borders on the theatrical, while Andrew’s “perfect husband” routine grows increasingly unrealistic.

Feig, usually known for his work in comedy, brings an over-the-top energy to this adaptation that makes for a fun, if slightly ridiculous, ride.

While his shift into psychological drama feels a bit bumpy, the film’s knowingly silly vibe is exactly what makes it so entertaining.

But it struggles with its own shifting tone and at 131 minutes, the pacing sags and several twists are made a little too obvious.

Sweeney does her best with the script but it is Seyfried who ultimately comes out on top here, putting in a brilliantly unhinged performance as Nina.

The Housemaid may lack subtlety and genuine menace but no one can deny that it is a great deal of fun from start to finish.

IT’S no question Sydney Sweeney has cemented her status as one of Hollywood’s most talked about sex symbols – and the actress often pairs red-hot outfits to match. 

Since her rise from Euphoria to international stardom the A-lister hasn’t shied away from showing off her now famous assets.

This week, Sweeney leaned fully into old Hollywood glamour, turning heads as she put on a busty display for her upcoming flick The Housemaid, which is already getting buzzy reviews after a few recent misses in her repertoire.

Her boxing biopic Christy failed to set the box office alight and saw her criticized for its poor performance paired with her shock American Eagle advert ‘great jeans’ backlash. 

But one thing the blonde bombshell’s fans never tire of is her plethora of sexy outfits.

From barely-there ’nude’ red carpet moments to plunging gowns and racy lingerie, let’s take a look at some of the actresses’ most raunchiest ever looks…

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Sydney Sweeney channels her inner Monroe in plunging white gown at premiere

THAT NUDE DRESS

In one of her sexiest outfits ever, the actress went almost naked in a jaw-dropping sheer chainmail style silver dress that left very little to the imagination.

Back in October, the White Lotus star went braless with her bare chest on display under her figure-hugging attire, which featured a floor-skimming hemline and elbow-length sleeves.

The see-through fabric gave a glimpse at her famous boobs, as well as the skin on her torso and thighs, making her appear pretty much naked in the exposing gown.

Sydney opted to keep the rest of her look minimal as it was clear that the dress was the statement piece here.

Monroe Muse

Sydney looked a vision in a plunging white gown adorned with a fur trim that seemed to be inspired by the late Marilyn Monroe.

The star showed out with her revealing red carpet look for the premiere of The Housemaid alongside her co-star Amanda Seyfried.

Sydney oozed sexiness in the striking halterneck, with corset detail to highlight her curves and a floor-length hemline.

The American’s bust was on full display, bursting out of the dress as she posed for the cameras.

Baring It All

As one of the biggest young starlets in Hollywood Sydney has endured more than her fair share of criticism.

She was once slammed by Hollywood producer Carol Baum, who criticised her looks and acting ability, saying: “She’s not pretty, she can’t act. Why is she so hot?”

Taking it in her stride the actress remains unafraid to push boundaries with her exposing outfits.

Sweeney looked the classic bombshell in a sizzling photoshoot for her swimwear collection with Frankies Bikinis.

The star stripped down to a lacy lingerie ensemble, dressed in black head-to-toe in this daring look.

Sheer Sweens

Back in 2023, the actress flew to her namesake Aussie city for the premiere of rom-com Anyone But You.

And it was transparent to all that fans loved meeting her. . . and her see-through dress.

The gown had a pair hot pants and a bikini style top fitted into the bodice of the almost completely sheer overlay.

The risqué gown had Sydney grabbing at the fabric to cover her modesty and clutching at her chest.

Playing Dress-up

The two-time Emmy nominee swapped the gowns for a more revealing number, as she dressed up as the Dragon from Shrek for her Friends-giving party this year.

The star dazzled, in her plunging red sequined leotard, black tights, stilettos and a horned headband for the holiday.

The racy costume showed off her natural curves, with the leotard revealing her busty display and plunging neckline.

She celebrated the Friendsgiving festivities alongside her boyfriend Scooter Braun.

Lace and Grace 

The actress opted for a bridal style dress with white lace stockings when attending the Southwest Film Festival.

The gown covered the movie star’s cleavage this time but revealed a sexy thigh high slit adorned with a white lace stocking. 

Although a more modest look for Sydney, the actress still managed to find a way to reel in the sex appeal.

Over the years, the star has been vastly underestimated, with Sydney famously declaring the biggest misconception people have about her is she’s just “a dumb blonde with big t**s.”

But when it comes to her outfits she’s certainly unafraid to push boundaries, and is unapologetic in her confidence.

Latex Look

The Euphoria star looked striking in a black outfit, whilst out at Variety’s annual Power of Young Hollywood event.

Sydney put on a raunchy show for this next look, opting for a latex figure hugging top which clung on to her every curve. 

The plunging neck line had her assets very much front and centre, while the leather skirt boasted a split and a flash of her pins.

Teasing her fans

Back in 2023, Sydney wowed in a gorgeous tule gown which was mostly transparent due to the mesh stripes placed on the dress.

The sheer fabric exposed her midriff, abs and thighs whilst the strapless neckline left her arms and shoulders on show.

Much of the scrutiny around Sydney revolves around her physical appearance, which has fanned debates about the double standards that women face in Hollywood.

Known for choosing roles that lean into hyper-sexualised archetypes, she’s become a lightning rod for public debate.

Even the most accomplished actors sometimes feel out of their depth on a movie.

Gwyneth Paltrow, who returns to the big screen this fall as an Old Hollywood star trying to make a new start in “Marty Supreme,” was “way out over her skis” in her early 20s when she played a Park Avenue wife opposite older co-star Michael Douglas in “A Perfect Murder.” Jennifer Lopez, who showcases her triple-threat skill set in the musical “Kiss of the Spider Woman,” felt a “huge” responsibility to get it right when portraying Tejana icon Selena Quintanilla in the 1997 biopic about the late singer. And Emily Blunt, who goes toe-to-toe with Dwayne Johnson in the mixed martial arts saga “The Smashing Machine,” had to avoid being typecast as the go-to “acerbic British bitch” after the success of 2006’s “The Devil Wears Prada.”

These and many more tales from inside the maelstrom of megawatt stardom were the subject of The Envelope’s 2025 Oscar Actresses Roundtable, where Paltrow, Lopez and Blunt were joined by Sydney Sweeney, who transformed physically and emotionally to play boxing legend Christy Martin in “Christy”; Tessa Thompson, who tries to keep up appearances as the title character in “Hedda,” Nia DaCosta’s acclaimed new adaptation of “Hedda Gabler”; and Elle Fanning, who plays an American star struggling to find her way into a Norwegian art film in “Sentimental Value.”

In conversation with Times critic Lorraine Ali, the six performers discussed how they deal with bad press, resist being put in career boxes and inhabited some of the most-talked-about film roles of the year.

Jennifer, you play the title role in “Kiss of the Spider Woman,” a story set in Argentina during a military dictatorship. It takes place in a political prison where the men imagine themselves in a glamorous, sweeping musical. As producer on the film, why was it important for you to tell this story now?

Lopez: It’s never been more relevant, which is really scary. Manuel Puig wrote the novel in the 1970s about these two prisoners during the uprising in Argentina. It really is a love story about seeing the humanity in another person, like two very different people with different political views. One is queer, and the other is a political revolutionary. The two of them were like oil and water. But they escaped into the [fantasy of] a movie, which is “Kiss of the Spider Woman.” They slowly come together and see each other’s souls instead of who they were on the outside. I think with everything that’s happening in the world right now, especially in this country, with Latinos and queer communities being targeted, demonized — there’s never been a more important time to say, “Look at me on the inside. Stop with all of this divisiveness. See people for who they are.”

Gwyneth, “Marty Supreme” is set in the 1950s. You play Kay Stone, a faded starlet. Who did you base her on?

Paltrow: She’s an amalgam of a few ideas, but principally Grace Kelly, who also had this amazing movie career and was this incredible star, and then walked away from it for marriage. My character does the same. When I was looking at photographs [of Kelly during] her films, and then photographs after she got married, it was like the light dimmed. She lost something. My character had a very rough road to get to stardom, so she walks away from this big career to marry an unsuitable but very wealthy man. And then her son dies, so she has a lot of tragedy.

Sydney, “Christy” is the story of Christy Martin, a pioneer in popularizing women’s boxing in the 1980s and 1990s. You really transformed for the role. Can you talk about that transformation?

Sweeney: Her story is probably one of the most important stories I’ll ever get to tell, so I felt that immense importance. I needed to fully transform myself. I trained every day for three months leading up to shooting. I put on 35 pounds. And I got to spend time with her, and now she’s like one of my best friends. I just kinda lived and breathed Christy for the entirety of the whole thing.

There’s so much violence in her world, particularly outside the ring. Was the real-life Christy there when you shot the domestic abuse scenes between her and her husband, Jim Martin (played by Ben Foster)?

Sweeney: To protect her, we didn’t have her on set when we were shooting the last part of the movie where the domestic violence came into play. The following Monday, we had her come to set, and the entire crew stood up and just started applauding. It was so beautiful. Then after that, she was on set all the time. We would be in the ring, and she’d be sitting [outside the ring], and I’d hear her say, “Hit her with the left hook, Sydney!”

Lopez: She was coaching from the sidelines?

Sweeney: Oh, yeah. We were having a blast. And in the fights, we actually fought. My No. 1 thing with all the girls was that I don’t want this to be fake because so much of Christy comes to life in the ring. I didn’t want to have [the camera] at the back of my head or have to cut to fake the punches. Every single one of those girls, they’re badasses. They punched me, and I punched them. We had bloody, broken noses. I had a concussion.

Blunt: Sydney broke someone’s nose.

Sweeney: I got a concussion. I’m not going to confirm [what else happened]. But I definitely caused some, uh, bruises and blood.

Emily, with “The Smashing Machine,” you play Dawn Staples, girlfriend to Mark Kerr, who was a pioneer in the field of MMA fighting. How much did you know about that world before taking on the role?

Blunt: I knew very little, and I was moved that Mark Kerr was my first window into [MMA] because he is such a juxtaposition to the violence of the world. This is a man who headbutted people to oblivion, and when you meet him, he’s like [subdued tone], “Hi, how are you?” He’s so nice. And I said to Mark one day, “How did you do that?” And he goes, “I know, it was nasty.” He’s just so sweet and dear and eloquent. But I think he was sort of filled with this uncontrollable rage that he hardly knew what to do with, and he struggled so much with his own demons. The movie is more about struggle and fragility than it is about fighting.

Tessa, “Hedda” is an adaptation of Henrik Ibsen’s play “Hedda Gabler” and you play the title role. Your castmate, Nina Hoss, said the role of Hedda Gabler is for women actors what Hamlet is for men. Do you agree?

Thompson: I like to say that Hamlet is the male Hedda, just because I think it’s a nice reversal. But people say that because the truth is that we don’t have that many [roles] that are canonical in the same way that Hedda Gabler is, so it feels like this behemoth. It’s one of the parts in theater that feels like a mountain to climb. There’s a kind of complexity to the character that has compelled audiences and actors for centuries … which is the case with both [Hedda and Hamlet]. But I think the comparison is kind of boring, frankly. I remember an actor saying to me, “Oh, I learned in drama school you have to have your Hedda ready.” And I did not have my Hedda ready, but I got it ready.

The wardrobe and sets in “Spider Woman,” “Hedda” and “Marty Supreme” are beautiful. Did you swipe mementos when the films wrapped?

Paltrow: No, you can’t.

Lopez: I mean, you can.

Paltrow: I tried the Birkin bag from “The Royal Tenenbaums” [but I could not], so I took the loafers instead.

Blunt: Not the same. Not quite.

Thompson: [To Gwyneth]: I was almost you [in “Tenenbaums”] for Halloween, but I couldn’t get it together in time and I wanted do you justice. But one day …

Paltrow: Next year. I’ll lend you the loafers.

Elle, in “Sentimental Value,” you play a Hollywood star who’s cast in an art–house European production. In reality, you were shooting the massive production “Predator: Badlands” when you joined “Sentimental Value,” a smaller European film. Were the parallels with your character, Rachel, apparent at the time?

Fanning: I got a call that “Joachim Trier has a part for you and would like to talk over Zoom, and here’s the script.” I was like, “Oh, my gosh, Joachim Trier [who made] ‘The Worst Person in the World.’” I would’ve said yes to one line. But I was already doing “Predator.” I was about to go off to New Zealand, but it’s very important for Joachim to rehearse, so he [wanted me] to come to Oslo. I wasn’t sure which movie I could do, and I wanted to do both. So, of course, there were parts to the character that I could relate to. I kept thinking, “There’s a lot of meta-ness going on in this film,” particularly for my character, being the Hollywood actress coming to Oslo for the first time, working with a Norwegian director. And coming off of this action-packed film to go to this very intimate, emotional foreign film, they fed into each other in ways that I didn’t expect them to.

How do you all deal with rough reviews?

Paltrow: I try to never read anything about myself, full stop, ever. Period.

Lopez: Wait, not anything about yourself? Ever? Period? Because I don’t read reviews of my films either, but people will bring it to you it when it’s good and you’re like, “Oh, nice.” But there’s other things they’ll bring you …

Paltrow: Sometimes I’ll come upon it.

Lopez: And you want to die.

Paltrow: Want to die. Like when someone forwards you a link to something really horrible about yourself, and they’re like, “Oh, this is bull—.” I do try to avoid [that kind of stuff]. I deleted Instagram.

Blunt: Me too.

Lopez: You need to cleanse every once in a while.

Sweeney: Sounds nice. I can’t do that.

How do you push the negative stuff about you or your personal life aside and focus on your work?

Sweeney: It helps when you love what you do. Like, if you’re loving the characters that you get to play, you’re loving the people you get to work with, and you’re proud of what you’re doing, then it’s just outside noise. When we walk on set, the world kind of disappears and we get come to life in a different kind of way. Those are the moments and the relationships that matter. Everything else is just people we don’t know.

Paltrow: [To Lopez] I want to hear your answer to this question.

Lopez: From the very beginning, for whatever reason, I’ve been a lightning rod for nice things and a lot of negativity. And it’s hard because you say to yourself, “These people don’t get me. They don’t see me. They don’t understand me.” Then all of a sudden they do. And then they don’t again. Even from when I was very young, I would always say, “I know who I am. I’m a good person. I know what I’m doing. People wouldn’t hire me if I wasn’t good at what I do.” I was always affirming myself and keeping my feet on the ground. Luckily, I had a great mom and dad who really instilled in me a sense of self. And what Sydney was saying, I’d have to block out the noise so I can put my head on the pillow at night and go, “I did good today. I was a good person. I was kind to people. I worked really hard. I’m a good mom.” That has always helped me through.

Thompson: Not having your sense of self or identity entangled in this other self that belongs to the public seems like such a healthy thing. I’m still trying to figure out my balance with that. When I was acting in some projects, I felt like I was delivering a lump of clay that got sculpted by somebody else. So if someone was harsh on the final [product], I was like, “Well, I didn’t sculpt it. I’m just the material.” But now that I produce, it’s a completely different thing. It’s building it from the ground up and feeling so much responsibility to the people that you’ve made it with. You made a baby and sent it into the world, and you just hope it doesn’t get misunderstood.

Gwyneth, you’re stepping back into the film world with “Marty Supreme” after seven years doing other things, such as Goop. Were you nervous coming back into the fold?

Paltrow: I [had been] doing things like “Iron Man” and “The Avengers,” which are totally fun, but it’s like doing a TV show where you go back in and you know the character. It’s not that difficult. So it had been a really long time, and I was like, “How did I used to do this? How are you, like, natural?” And then I did the camera test and I was really nervous. I felt like a fish out of water. And then luckily the first scene that I shot for real was a scene in the movie where she’s rehearsing a play. And I started in the theater, and I did a million plays before I ever did a film. The camera was far away, and I had my mom’s voice in my head. She’s like, “You’re on the boards, you know, just let the energy come through your body.”

Can wardrobe and styling help you embody the emotional core of a role?

Blunt: Dawn’s got a vibe for sure. It was that very overt ’90s, overglamorized thing, and everything was so revealing. I feel like my t— looked like two heads by the time they were done with the Wonderbra. They were just up under my chin. That helps you stand different, walk different. And the nails helped me. She had this incredibly long, square, chunky French tip manicure, and she’d talk with her hands. And the spray tan and the wig. It’s all fabulous. It’s such an amazing thing to look at yourself and go, “Who’s that?”

Thompson: [In “Hedda”], the construction of those dresses in the ’50s, there’s so much boning. We had Lindsay Pugh, who’s a brilliant costume designer. I also started looking up the starlets of the time and what their waist sizes were. It was like 20 or 21 inches. They were extreme. In the beginning, when we were constructing the dress, I was like, “I’m going to try to get down to that Dior-like silhouette,” which is impossible. Then we [fell in] love with the idea that the dress doesn’t actually fit her, because she’s inside of a life that doesn’t fit her. But the sheer sort of circumference of the dress makes her a woman who comes into a room and takes up space. A big part of [a woman’s] currency was their beauty and their body. That felt very foreign to me to inhabit. I didn’t recognize or had maybe suppressed the idea of using that part of me to gain power in the world.

The 2025 Envelope Oscar Actresses Roundtable: Top row, left to right, Tessa Thompson, Gwyneth Paltrow and Elle Fanning. Bottom row, left to right, Sydney Sweeney, Jennifer Lopez and Emily Blunt.

Hollywood likes to put people in boxes, particularly women. What boxes has it tried to stuff you in?

Fanning: I was in “Maleficent” and I played Sleeping Beauty, so like Disney princess in pink. Blond.

Blunt: But look at that face. Come on!

Fanning: But I can be mean too! In “The Great,” [I played] Catherine the Great, she was a queen, but she was raunchy. It was such a delicious show in that way. People were like, “Whoa.” They were surprised [seeing me like] that.

Blunt: If there’s a movie that takes off, you will have to carve out space away from that. I remember after “The Devil Wears Prada,” I got offered every acerbic British bitch. I’m like, “I should not do that for a while.”

Paltrow: When I stepped back to be an entrepreneur around 2008, I really confused and upset people. Nobody understood what I was doing, and I faced a lot of criticism and confusion over the course of the 17 years since I sent out my first Goop newsletter. I really do think that women, we are so incredibly multifaceted. We are all the archetypes. We’re not just a mother, or an artist, or an intellectual. We’re all the things. So I’ve always kind of tried to make it my mission to say, like, “No, don’t put us in boxes. We get to define who we are.”

Blunt: Was it hard for you to keep going and ignore it?

Paltrow: It was really hard. Some days I was like, “Why did I do this? The headwinds are so extreme and I’m so misunderstood. I had a perfectly good job. People did my hair. Why on earth did I do this to myself?”

Thompson: And you also did it before there was a cultural appreciation for people doing multihyphenates and starting businesses.

Lopez: I think our generation started thinking, like, “We need and want to do other things.” Even when I started acting and I had done my early films, “Out of Sight” and “Selena,” and then decided I wanted to record music, and it was such a big deal. People were like, “They’re never going take you seriously as an actor ever again.”

Paltrow: And you had the No. 1 movie and the No. 1 album in the same time, right?

Lopez: It was in the Guinness Book of Records. But that’s the thing, everybody’s always trying to tell you: “You can only do this,” or “You can only do that.” I had my perfume line. I had my clothing lines. I have my J Lo beauty now. You have to just do what feels good for you. It doesn’t mean it’s for everybody. Somebody wants to just act their whole life, that’s beautiful too. That’s fantastic. I still want to direct. I still want to write more books. And I don’t ever feel like there’s somebody who can say to me, “No, you can’t.”

Blunt: Say that to Sydney and she’ll break their nose.