June 10, 2025
Blake Lively vs. Justin Baldoni - The Allegations That Shook Hollywood Part 1 - "The Set From Hell"
The case has been dismissed, but let's go back to the beginning. In January 2024, Blake Lively and Justin Baldoni were making a movie about domestic violence. By December, they were accusing each other of harassment, extortion, and orchestrating smear campaigns. What happened on the set of "It Ends With Us" that transformed co-stars into courtroom enemies? From alleged inappropriate behavior to secret meetings with Ryan Reynolds, from social media manipulation to $400 million lawsuits—this is the story of how Hollywood's latest blockbuster became its most toxic workplace disaster.
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WEBVTT
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Calaruga Shark Media. Welcome back to feuds, power, pride, and payback.
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I'm Marcus Reid. Yesterday a federal judge in New York
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dismissed Justin Baldoni's four hundred million dollar countersuit against Blake Lively,
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delivering what her lawyers called a total victory in one
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of Hollywood's most explosive legal battles. But to understand how
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we got here, how two co stars went from making
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a summer blockbuster to waging war in federal court, we
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need to go back to the beginning, back to a
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film set in New Jersey, where, according to one of them,
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something went very, very wrong. This is the story of
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It Ends with Us, a movie about domestic violence that
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became the center of its own abuse allegations. A story
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about power control and what happens when the cameras stop rolling.
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But the real drama is just beginning. The case may
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be dismissed today, but the feud that created it that
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started long before any lawyer got involved. This is episode four,
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the set from Hell, Act one, the movie that wasn't
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supposed to happen. In early twenty twenty four, Blake Lively
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seemed to have it All. The former Gossip Girl star
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had successfully transitioned to films, married to Ryan Reynolds, one
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of Hollywood's biggest stars, mother of four, with a carefully
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crafted public image as the relatable millionaire next door. She
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was selective about her projects, turning down countless scripts while
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building her brand as a businesswoman and lifestyle influencer. So
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when she signed on to star in It Ends with Us,
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the adaptation of Colleen Hoover's best selling novel about domestic violence,
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it felt like the perfect vehicle for her to tackle
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serious material. The book had sold millions of copies, inspiring
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a devoted fanbase. The role of Lily Bloom, a strong
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woman who survives an abusive relationship, seemed tailor made for
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an actress looking to prove her dramatic chops. What Lively
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didn't expect was that her co star and director would
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allegedly turn the set into its own kind of battlefield.
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Justin Baldoni was writing high in January twenty twenty four.
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The former Jane the Virgin star had successfully transitioned to directing,
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building his Wayfarer Studios into a production company focused on
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meaningful stories. It Ends with Us was supposed to be
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his breakout moment, directing and starring opposite an A list
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actress in a film about one of society's most important issues,
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but according to the legal complaint Lively would eventually file.
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Problems began almost immediately. The first red flag Lively alleged
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came during early script discussions. Baldoni, she claimed, wanted to
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add sex scenes that weren't in Hoover's original novel, scenes
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that would require Lively to appear nude on camera. When
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she pushed back, citing the approved script she'd signed on to,
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the tension was already building. Then came the alleged incidents
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that would eventually destroy both their careers. According to Lively's
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December twenty twenty four complaint, Baldoni began making inappropriate comments
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about her appearance, describing her body in sexual terms during
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what should have been professional conversations. She alleged he would
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enter her makeup trailer unannounced, including times when she was
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breastfeeding her infant daughter or getting dressed. But it was
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during filming itself that things allegedly crossed the line from
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unprofessional to harassment. In one scene, Lively alleged Baldoni was
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supposed to speak dialogue while they slow danced for a
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montage sequence. Instead, she claimed he leaned forward and slowly
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dragged his lips from her ear and down her neck,
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while saying it smells so good. The scene required no
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such intimate contact, no kiss, no physical affection beyond dancing.
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When Lively objected to what she called improvised physical intimacy
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that hadn't been rehearsed or choreographed, she alleged that Baldoni
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dismissed her concerns. The complaint painted a picture of a
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set where boundaries were constantly crossed, where the director used
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his position of power to allegedly make his leading lady
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uncomfortable in scene after s Act two, the meeting that
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changed everything. By late twenty twenty three, with production pause
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due to the writers and actors' strikes, Lively had had enough.
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According to her legal filing, she demanded a meeting before
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filming could resume, a meeting that would prove to be
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the turning point in what would become Hollywood's most bitter
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legal war. The January twenty twenty four all hands meeting
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was held at Wayfarer Studios. Present were Lively, Baldoni, producer
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Jamie Heath, Wayfarer executives, and, in a move that signals
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how seriously Lively was taking the situation, her husband, Ryan Reynolds.
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The presence of Reynolds at what was ostensibly a work
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meeting was unprecedented. This wasn't a social visit or a
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set visit by a supportive spouse. This was the star
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of Deadpool using his considerable industry power to back up
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his wife's complaints about workplace harassment. Lively presented a list
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of demands that read like a workplace safety manual written
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by someone who'd been pushed to their absolute limit. No
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more showing nude videos of women, including producer Heath's wife,
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to Lively or her staff. No more discussions of Baldoni's
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or Heath's alleged former pornography addiction with cast and crew.
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No more descriptions of their genitalia. No more improvised sex
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scenes or nudity beyond what was in the approved script.
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The demand for an intimacy coordinator to be present at
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all times was particularly telling. In post Me Too, Hollywood,
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intimacy coordinators had become standard for scenes involving physical contact
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that Lively had to demand one suggests the production had
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been proceeding without basic safety protocols. According to Lively, said complaint,
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Wayfarer Studios agreed to all her demands. They would provide
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the intimacy coordinator, they would stick to the approved script,
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and crucially, they agreed not to retaliate against Lively for
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raising these concerns. That last promise, Lively would later allege
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was the first one they broke. Act three, The Summer
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That Went Wrong. It Ends with Us was released in
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August twenty twenty four to massive box office success. The
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film earned three hundred fifty one million dollars worldwide on
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a twenty five million dollar budget, a massive hit by
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any measure, but even during the promotional tour, something felt off.
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Industry insiders noticed that Baldoni and Lively rarely appeared together.
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During the film's New York premiere, Baldoni didn't pose with
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the cast for photos, press interviews were conducted separately. The
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chemistry that should have been evident between co stars who
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just made a successful romantic drama was nowhere to be found.
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But it was Lively's promotional strategy that became the subject
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of intense online criticism. While Baldoni spoke seriously about domestic
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violence and the film's important message. Lively treated the press
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to her like a celebration. She promoted her hair care line,
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talked about fashion, and seemed to approach a movie about
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abuse with what critics called inappropriate levity. The backlash was
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swift and brutal. Social media turned against Lively with a
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ferocity that seemed disproportionate to her promotional missteps. Suddenly, old
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interviews resurfaced, her comments were dissected, her every public appearance
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was criticized. What looked like an organic social media pylon
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would later be revealed, according to Lively's complaint, as something
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far more sinister. Act four, the Digital Army. On December twentieth,
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twenty twenty four, Blake Lively filed a bombshell complaint with
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the California Civil Rights Department that would change everything. The
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allegations of onset harassment were damning enough, but it was
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what Lively claimed happened after filming that truly shocked Hollywood.
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According to the complaint, Baldoni and his team had orchestrated
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what Lively called a sophisticated press and digital plan designed
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to destroy her reputation using crisis management techniques typically reserved
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for major scandals. They allegedly deployed what the complaint called
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a digital army to weaponize social media against her. Text
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messages in included in the complaint appeared to show Baldoni's
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publicists discussing strategies to make Lively feel like she can
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be buried. One message allegedly read we can't write, we
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will destroy her, suggesting they understood the line between aggressive
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PR and illegal retaliation. The complaint alleged that Baldoni's team
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hired subcontractors to create fake social media accounts and promote
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negative content about Lively across multiple platforms. They allegedly planted
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stories and media outlets, and coordinated online harassment campaigns designed
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to look organic but were actually carefully orchestrated character assassination.
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This wasn't just about winning a PR battle, according to Lively,
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this was about using the power of modern media manipulation
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to punish a woman for speaking up about workplace harassment.
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The summer's social media pylon against Lively suddenly took on
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a different meaning. Those viral tiktoks criticizing her interviews, the
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resurfaced old clips, the seemingly organic outrage. Lively alleged it
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was all manufactured by professionals hired to destroy her reputation.
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Act five the Explosion. The New York Times published lively
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story on December twenty first, twenty twenty four, under the
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headline we can bury anyone inside a Hollywood smear machine.
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The article included the text messages, the alleged harassment, details,
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and documentation of what appeared to be a coordinated retaliation campaign.
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The response was immediate and devastating for Baldoni. Within hours, WME,
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one of Hollywood's most powerful talent agencies, dropped Baldoni as
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a client. The Vital Voices Organization rescinded an award they'd
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planned to give him for supporting WI Women. His Man
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Enough podcast co host, resigned. Colleen Hoover, the author whose
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book had made this all possible, released a statement supporting Lively.
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But Baldoni wasn't going down without a fight. On December
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thirty first, twoenty twenty four, hours before the end of
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the year, Baldoni filed a two hundred fifty million dollar
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libel lawsuit against The New York Times, accusing the newspaper
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of journalistic malpractice and alleging they had cowered to the
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wants and whims of two powerful, untouchable Hollywood elites. That
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same day, Lively escalated by filing her own federal lawsuit
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in New York, formally bringing her harassment allegations into court.
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But the real nuclear option came on January sixteenth, twenty
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twenty five, when Baldoni filed a four hundred million dollar
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lawsuit directly against Lively, Reynolds, and their publicist, the Complain
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to accuse them of extortion, defamation, and attempting to steal
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creative control of the film. It painted Lively not as
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a harassment victim, but as a manipulative a lister who
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weaponized false accusations to get her way. The lawsuit alleged
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that Lively had never even read Hoover's novel before signing
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onto the project, a devastating claim that suggested she didn't
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understand the material she was adapting. It accused her of
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making wrongheaded creative decisions and systematically excluding Baldoni from the
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production of his own film. Most explosively, it claimed that
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Lively had threatened to withdraw from the project and make
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sexual harassment allegations public unless she was given unprecedented creative control.
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According to Baldoni, the harassment claims weren't real grievances. They
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were weapons deployed by Hollywood Royalty to get their way. Epilogue,
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The Point of no Return. By January twenty twenty five,
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what had started as workplace tensions on a movie set
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had exploded into multiple federal lawsuits, industry blacklisting, and a
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media circus that dominated entertainment headlines. Both careers lay in ruins. Baldoni,
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once positioned as Hollywood's feminist ally, was now persona non grata,
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his directing career effectively over Lively, despite support from advocacy groups,
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faced continued online harassment and questions about her motivations. The
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film that was supposed to raise awareness about domestic violence
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had become the center of its own abuse allegations. The
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movie that was meant to empower women had divided Hollywood
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into warring camps questioning who was the real victim. What
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makes this feud particularly devastating is that there are no
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winners if Lively's allegations are true. She endured months of
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harassment and then suffered a coordinated retaliation campaign designed to
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destroy her career, all for the crime of speaking up
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about workplace abuse. If Baldoni's counter allegations are true, he's
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the victim of false accusations deployed as weapons by powerful
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celebrities who used Me Too movement's important principles to cover
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their own professional misconduct. The truth, as it often is
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in Hollywood, remained somewhere in the disputed territory between competing narratives,
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buried under mountains of legal filings and pr strategies. But
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what's undeniable is that a film about ending cycles of
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abuse had created its own cycle of professional destruction that
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consumed everyone it touched. The case may be dismissed today,
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but the real trial, the one that will determine whose
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version of events the world believes, is still set for
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March twenty twenty six, and, as we'll see in our
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next episode, the legal battle that followed would prove even
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more destructive than the original allegations, because when Hollywood goes
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to war, the collateral damage always extends far beyond the battlefield.
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I'm Marcus Reed, thanks for listening to feuds, power, pride,
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and payback.
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