Blake Lively sues ‘It Ends With Us’ director Justin Baldoni alleging harassment and smear campaign

Blake Lively sues ‘It Ends With Us’ director Justin Baldoni alleging harassment and smear campaign
Lively’s suit filed in federal court in New York says the director schemed with publicists to plant negative stories about her. (AFP)
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Updated 01 January 2025

Blake Lively sues ‘It Ends With Us’ director Justin Baldoni alleging harassment and smear campaign

Blake Lively sues ‘It Ends With Us’ director Justin Baldoni alleging harassment and smear campaign
  • The lawsuit was filed Tuesday, just hours after the director, Justin Baldoni, and several others tied to the film filed their own lawsuit against The New York Times
  • Lively’s suit filed in federal court in New York says the director schemed with publicists to plant negative stories about her

Actor Blake Lively sued “It Ends With Us” director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.
The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively’s suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.
The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.
Lively’s suit said that Baldoni, the film’s production company Wayfarer Studios and others engaged in “a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out.”
She accuses Baldoni and the studio of embarking on a “multi-tiered plan” to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed “repeated sexual harassment and other disturbing behavior” by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.
The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.
The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set. And the suit says Baldoni and Heath “discussed their personal sexual experiences and previous porn addiction, and tried to pressure Ms. Lively to reveal details about her intimate life.”
Baldoni’s attorney Bryan Freedman did not immediately respond to a request for comment on Lively’s lawsuit. But he previously called the same allegations “completely false, outrageous and intentionally salacious.”
Lively’s lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to “vigorously defend” against the lawsuit.
Others who are defendants in Lively’s suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: “‘We Can Bury Anyone’: Inside a Hollywood Smear Machine.”
Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.
The libel lawsuit says the newspaper “relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care.”
A spokesperson for the Times, Danielle Rhoades, said in a statement that “our story was meticulously and responsibly reported.”
“It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error,” the statement said.
But Baldoni’s lawsuit says that “If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign.”
Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that “Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today.”
The romantic drama “It Ends With Us,” an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for “Deadpool & Wolverine” at the same time.
Lively came to fame through the 2005 film “The Sisterhood of the Traveling Pants,” and bolstered her stardom on the TV series “Gossip Girl” from 2007 to 2012. She has since starred in films including “The Town” and “The Shallows.”
Baldoni starred in the TV comedy “Jane the Virgin,” directed the 2019 film “Five Feet Apart” and wrote “Man Enough,” a book pushing back against traditional notions of masculinity. He responded to concerns that “It Ends With Us” romanticized domestic violence, telling the AP at the time that critics were “absolutely entitled to that opinion.”
He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.
Baldoni’s attorney, Freedman, said in a statement on the libel suit that “the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites.”
“In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism among the online public,” he added. “The irony is rich.”


Teen behind the Louvre heist ‘Fedora Man’ photo embraces his mystery moment

Teen behind the Louvre heist ‘Fedora Man’ photo embraces his mystery moment
Updated 09 November 2025

Teen behind the Louvre heist ‘Fedora Man’ photo embraces his mystery moment

Teen behind the Louvre heist ‘Fedora Man’ photo embraces his mystery moment
  • A photo of Pedro Elias Garzon Delvaux at the Louvre on the day of the crown jewels heist had drawn millions of views
  • The image shows him in a fedora and three-piece suit, sparking online speculation that he was a detective or even AI-generated

PARIS: When 15-year-old Pedro Elias Garzon Delvaux realized a photo of him at the Louvre on the day of the crown jewels heist had drawn millions of views, his first instinct was not to rush online and unmask himself.
Quite the opposite. A fan of Sherlock Holmes and Hercule Poirot who lives with his parents and grandfather in Rambouillet, 30 kilometers from Paris, Pedro decided to play along with the world’s suspense.
As theories swirled about the sharply dressed stranger in the “Fedora Man” shot – detective, insider, AI fake – he decided to stay silent and watch.
“I didn’t want to say immediately it was me,” he said. “With this photo there is a mystery, so you have to make it last.”
For his only in-person interview since that snap turned him into an international curiosity, he appeared for the AP cameras at his home much as he did that Sunday: in a fedora hat, Yves Saint Laurent waistcoat borrowed from his father, jacket chosen by his mother, neat tie, Tommy Hilfiger trousers and a restored, war-battered Russian watch.
The fedora, angled just so, is his homage to French Resistance hero Jean Moulin.
In person, he is a bright, amused teenager who wandered, by accident, into a global story.
From photo to fame
The image that made him famous was meant to document a crime scene. Three police officers lean on a silver car blocking a Louvre entrance, hours after thieves carried out a daylight raid on French crown jewels. To the right, a lone figure in a three-piece suit strides past – a flash of film noir in a modern-day manhunt.
The Internet did the rest. “Fedora Man,” as users dubbed him, was cast as an old-school detective, an inside man, a Netflix pitch – or not human at all. Many were convinced he was AI-generated.
Pedro understood why. “In the photo, I’m dressed more in the 1940s, and we are in 2025,” he said. “There is a contrast.”
Even some relatives and friends hesitated until they spotted his mother in the background. Only then were they sure: The Internet’s favorite fake detective was a real boy.
The real story was simple. Pedro, his mother and grandfather had come to visit the Louvre.
“We wanted to go to the Louvre, but it was closed,” he said. “We didn’t know there was a heist.”
They asked officers why the gates were shut. Seconds later, AP photographer Thibault Camus, documenting the security cordon, caught Pedro midstride.
“When the picture was taken, I didn’t know,” Pedro said. “I was just passing through.”
Four days later, an acquaintance messaged: Is that you?
“She told me there were 5 million views,” he said. “I was a bit surprised.” Then his mother called to say he was in The New York Times. “It’s not every day,” he said. Cousins in Colombia, friends in Austria, family friends and classmates followed with screenshots and calls.
“People said, ‘You’ve become a star,’” he said. “I was astonished that just with one photo you can become viral in a few days.”
An inspired style
The look that jolted tens of millions is not a costume whipped up for a museum trip. Pedro began dressing this way less than a year ago, inspired by 20th-century history and black-and-white images of suited statesmen and fictional detectives.
“I like to be chic,” he said. “I go to school like this.”
In a sea of hoodies and sneakers, he shows up in a three-piece suit. And the hat? No, that’s its own ritual. The fedora is reserved for weekends, holidays and museum visits.
At his no-uniform school, his style has already started to spread. “One of my friends came this week with a tie,” he said.
He understands why people projected a whole sleuth character onto him: improbable heist, improbable detective. He loves Poirot – “very elegant” – and likes the idea that an unusual crime calls for someone who looks unusual. “When something unusual happens, you don’t imagine a normal detective,” he said. “You imagine someone different.”
That instinct fits the world he comes from. His mother, Félicité Garzon Delvaux, grew up in an 18th-century museum-palace, daughter of a curator and an artist – and regularly takes her son to exhibits.
“Art and museums are living spaces,” she said. “Life without art is not life.”
For Pedro, art and imagery were part of everyday life. So when millions projected stories onto a single frame of him in a fedora beside armed police at the Louvre, he recognized the power of an image and let the myth breathe before stepping forward.
He stayed silent for several days, then switched his Instagram from private to public.
“People had to try to find who I am,” he said. “Then journalists came, and I told them my age. They were extremely surprised.”
He is relaxed about whatever comes next. “I’m waiting for people to contact me for films,” he said, grinning. “That would be very funny.”
In a story of theft and security lapses, “Fedora Man” is a gentler counterpoint – a teenager who believes art, style and a good mystery belong to ordinary life. One photo turned him into a symbol. Meeting him confirms he is, reassuringly, real.
“I’m a star,” he says – less brag than experiment, as if he’s trying on the words the way he tries on a hat. “I’ll keep dressing like this. It’s my style.”