How to Lose a Guy Sequel Starts With Kate Hudson, Not Its Couple

How to Lose a Guy in 10 Days is not a world-building property. There is no mythology to mine, no masked role to recast, no setting that does half the labor. The memory is Andie and Ben arguing, performing, lying badly, flirting better, and making a ridiculous workplace premise feel like a dating-comedy engine instead of a sketch.

So when the announcement says Hudson is producing, but the two original stars are only the intention, readers hear the quiet warning inside the news. The movie people remember may be the goal. It is not yet the package.

Photos: Gabriel Hutchinson · CC BY-SA 4.0 · source; Kevin Payravi · CC BY-SA 4.0 · source

Kate Hudson Has Kept the Door Open Carefully

Yahoo reported that Hudson had spent years answering sequel questions before this development became real. On Watch What Happens Live With Andy Cohen in July 2024, she said she and McConaughey were open to the idea, while stressing that the script would matter.

By March 2025, Yahoo reported, the rumors had grown enough that Hudson addressed them on The Drew Barrymore Show. She said she had not had contact with anyone about a sequel. She still left room for the possibility, saying the idea would need to be right and good.

That caution matters. It is the difference between a revival built because somebody found a real reason to revisit these people and one built because a recognizable title still tests well. Hudson has not been quoted in these reports promising that Andie and Ben belong back on screen. She has been quoted saying the writing has to justify it.

McConaughey has also treated the film as one with sequel potential. Yahoo reported that in 2020 he called How to Lose a Guy in 10 Days well set up for a follow-up and named it among his stronger romantic comedies.

Photos: Gabriel Hutchinson · CC BY-SA 4.0 · source; Kevin Payravi · CC BY-SA 4.0 · source

The Original Still Pays, Literally

The first film was not a small memory inflated by cable reruns. Box Office Mojo lists its worldwide gross at about $177.6 million, while The Numbers puts it around $178.5 million against a reported $50 million budget, according to Yahoo. Deadline rounded the gross to more than $178 million worldwide.

McConaughey recently said the film is probably his favorite romantic comedy and told Entertainment Weekly it still brings him more residual income than any other film he has made, according to Yahoo. Outlook India also reported his comment that it remains his best “mailbox money” title.

That is a cold industry fact wrapped around a warm audience one. The movie has kept moving because people kept finding it, rewatching it, leaving it on, arguing for it, rolling their eyes at it, and coming back anyway.

Yahoo also reported that Hudson has credited the film’s lasting appeal to her chemistry with McConaughey. In a Vanity Fair career retrospective, she described them as sharing a similar energy and being comfortable with the flirtatious charge the film needed.

Andie and Ben Are the Only Real Premise

The hardest question for Paramount is not the title. It is what happened after the yellow dress, the job bets, the exposed lies, and the big romantic finish.

Yahoo reported that Hudson has previously wondered whether Andie and Ben would still be together, married, or raising a family, but none of those ideas has been announced as the sequel’s premise. Right now, the new film begins with a mostly blank page.

That blank page is both the danger and the chance. A sequel cannot just repeat the old trick with older characters and a shinier dating app. Andie and Ben’s original problem was dishonesty dressed up as ambition. Two decades later, the interesting question is what kind of people they became after getting exactly the kind of romantic ending movies used to hand out with confidence.

Paramount may yet land Hudson, McConaughey and a writer with a sharp enough reason to bring them back. Until then, the announcement is less a victory lap than a promise waiting for proof: no Andie, no Ben, no bet worth making.

Every factual claim above is drawn from these. The reading of them is ours.