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.”

DAMASCUS: In post-Assad Syria, stand-up comedians are re-emerging to challenge taboos, mocking the former president and his regime and even testing the waters with Damascus’s new rulers.
Melki Mardini, a performer in the Syrian capital’s stand-up scene, is among those embracing newfound freedoms.
“The regime has fallen,” he declares from the stage, referring to Bashar Assad’s abrupt departure earlier this month, ending more than half a century of his family’s rule.
The audience at an art gallery hosting the show remains silent.
“What’s the matter? Are you still scared?” Mardini says, triggering a mix of awkward laughter and applause.
“We’ve been doing stand-up for two years,” says the 29-year-old. “We never imagined a day would come when we could speak so freely.”
Now, his performances are “safe spaces,” he says.
“We can express our views without bothering anyone, except Bashar.”
Under the old regime, jokes about elections, the dollar or even mentioning the president’s name could mean arrest or worse.
Chatting with the audience during his set, Mardini learns one man is a psychiatrist.
“A lord in the new Syria!” he exclaims, imagining crowds rushing into therapy after five decades of dictatorship.
For two hours, 13 comedians — including one woman — from the collective Styria (a play on the words Syria and hysteria) take the stage, sharing personal stories: an arrest, how they dodged compulsory military service, how they sourced dollars on the black market.


“Syria wants freedom!” declares Rami Jabr as he takes the stage.
“This is our first show without the mukhabarat in the room,” he quips, referring to the feared intelligence agents.
He reflects on his experience in Homs, dubbed the “capital of the revolution” in March of 2011 when anti-government protests broke out in the wake of the Arab Spring, followed by brutal repression.
A commercial representative for a foreign company, Jabr recalls being detained for a month by various security services, beaten, and tortured with a taser, under the accusation that he was an “infiltrator” sent to sow chaos in Syria.
Like him, comedians from across the country share their journeys, united by the same fear that has suffocated Syrians for decades living under an iron fist.
Hussein Al-Rawi tells the audience how he never gives out his address, a vestige of the paranoia of the past.
“I’m always afraid he’ll come back,” he says, referring to Assad. “But I hope for a better Syria, one that belongs to all of us.”


Said Al-Yakhchi, attending the show, notes that free speech is flourishing.
“During the last performance before the regime fell, there were restrictions,” says the 32-year-old shopkeeper.
“Now, there are no restrictions, no one has to answer to anyone. There’s no fear of anyone.”
Not even Syria’s new rulers — a diverse mix of rebel groups, including Islamists and former jihadists, who quickly marched on Damascus and toppled Assad’s government.
“We didn’t live through a revolution for 13 or 14 years... just to have a new power tell us, ‘You can’t speak,’” Mardini says.
When not performing on stage, Mary Obaid, 23, is a dentist.
“We unload everything we’ve been holding inside — we do it for all Syrians,” she says.
“Each person shares their own experience. The audience reacts as if each story has happened to them too.”
Of the country’s new leaders, Obaid says she will wait to see “what they will do, then we’ll judge.”
“Right now, we feel freedom,” she says. “We hope we won’t be targets of harassment.”
“We’re at a pivotal moment, transitioning from one era to another,” she adds.
“Now we are the country of freedom, and we can put forward all our demands. From now on, never again fear.”