Justin Baldoni, the actor and director known for his work on the film adaptation of Colleen Hoover’s bestselling novel "It Ends With Us," has launched a website showcasing text messages and emails exchanged with co-star Blake Lively amid their highly publicized legal battle. This aggressive move follows Lively's December 2024 lawsuit alleging sexual harassment against Baldoni.
The website, purposed to refute Lively’s claims, features not only the text exchanges but also includes an extensive 168-page document detailing events surrounding the filming.
According to The New York Times, Lively’s accusations revolve around instances of alleged harassment during the production period. She alleges Baldoni engaged in various forms of inappropriate behavior on set, prompting her to file legal action seeking damages. Baldoni firmly denies these allegations, claiming they're part of Lively's strategy to revamp her image after internal conflicts during the film’s production.
Among the texts released on Baldoni’s website is a message from Lively discussing the film's rooftop scene, where she describes her approach to being flirtatious and playful, stating, "If you knew me (in person) longer you'd have a sense of how flirty and yummy the ball busting will play. It’s my love language. Spicy and playfully bold, never with teeth…" This message, sent in April 2023, has added fuel to Baldoni's contention of his co-star's intention to portray their interactions co-operatively rather than the hostile narrative Lively claims.
Another text from Lively shows her inviting Baldoni to her trailer, indicating their professional rapport. “I feel good. I can meet her when we start :) thank you though!” Lively texted when Baldoni suggested setting up the involvement of an intimacy coordinator for their film. Baldoni's response, “Copy. Eating with crew and will head there,” suggests their communication remained friendly and collaborative.
Ryan Reynolds, Lively's husband, also weighed in on the situation, purportedly expressing his admiration for Baldoni. He allegedly communicated to him, “I happen to adore you, Justin. I’m excited for Blake to crack open her creative piggy bank with someone as dynamic as you.” This exchange, dated February 2023, contrasts sharply against Baldoni's assertions of Reynolds’ involvement being more sinister resembling workplace bullying.
While the discussions, exchanges, and invites presented by Baldoni paint a picture of congenial professionalism, Lively’s legal team has fiercely rebuffed his portrayal. They argue her lawsuit is about highlighting significant issues of sexual misconduct and the impacts on her career.
Legal experts note the irony of the situation, as Baldoni's attempt to expose the character of Lively with text messages may backfire. Lively’s camp could argue the texts contextualize the friendly banter as Lively maneuvering to deflect discomfort she allegedly felt during filming.
The history of animosity between the two escalated significantly when Baldoni filed his own lawsuit against Lively and Reynolds. His allegations include claims of extortion and defamation, positioning the conflict more as a professional war than mere personal grievances. Baldoni's lawsuit seeks $400 million in damages from Lively, her husband, and their publicist.
Both sides are gearing up for court with the initial trial set to take place in March 2026. The legal discourse has entered the public eye, not just for its entertainment value but the serious issues it addresses about workplace behavior within Hollywood.
Prior to the December 2024 lawsuit, Baldoni’s team claimed Lively was involved in automatic smear campaigns characterized as retaliatory against Baldoni’s creative direction. Baldoni's attorney, Bryan Freedman, argued, “Ms. Lively and her entire team colluded for months to destroy reputations through lies and false accusations.”
Freedman not only supports Baldoni's stance but also suggests they are prepared with evidence, asserting they hold significant documentation covering communications exchanged throughout the filming period. Subsequently, this expands the narrative from merely one of sexual misconduct allegations to broader issues concerning autonomy on set and the management of reputations within the entertainment industry.
Moving forward, both Baldoni and Lively’s public images hang precariously amid these serious allegations. For audiences, this saga encapsulates not just the enigmatic lives of Hollywood stars, but the pervasive issues of workplace dynamics and sexual conduct within such closely-knit collaborations.
Next, the court proceedings will serve as both platforms for claims and counterclaims and arenas where personal and professional reputations converge and confront each other—setting the stage for public discourse surrounding consent, collaboration, and the internal politics of Hollywood filmmaking.