Justin Baldoni recently expanded his legal action against Blake Lively by including fresh allegations concerning New York Times metadata, alongside accusations that her spouse, Ryan Reynolds, has been harassing him through the “Nice Guy” character from “Deadpool & Wolverine.
Over the weekend, Baldoni’s legal team submitted a revised 224-page lawsuit and created a website to publish both the complaint and a supporting 168-page timeline. The events surrounding “It Ends with Us,” where Baldoni directed and acted alongside Lively, have sparked a lengthy legal and public relations struggle over the past six weeks.
In the latest claims, Baldoni’s representatives assert that data from The Times’ website suggests they had access to Lively’s civil rights complaint at least 11 days prior to their December 21 exposé titled “‘We Can Bury Anyone’: Inside a Hollywood Smear Machine.” This article accused Baldoni and his public relations team of trying to harm Lively’s reputation, apparently as retaliation for her accusations of sexual harassment on set.
Baldoni has filed a lawsuit against Reynolds, Lively, and The Times for making defamatory statements, claiming they tarnished his reputation by manipulating text messages and using them out of context. The revised complaint states that The Times initially published a version of Lively’s civil rights complaint against him on December 10th. Furthermore, the lawsuit suggests that additional metadata indicates The Times may have been working on this story as early as October 31st.
In response to alleged “inaccuracies” in the complaint, The Times argued against them, whereas Baldoni’s team used the metadata as evidence supporting their case.
Bryan Freedman, representing Baldoni, stated to EbMaster that this newly presented proof supports what we’ve believed since, which is that Ms. Lively and her team, driven solely by self-interest, conspired for months to tarnish reputations using a intricate network of truth distortions, false claims, and manipulation of illegally obtained correspondence.
The lawsuit states that the video related to the Times’ article was produced on December 12, which is nine days before it was published. As per the lawsuit, the Times contacted Baldoni’s team for comments on the evening of December 20, setting a deadline for the following day at noon, approximately 14 hours later. The story was eventually published with Freedman’s comment at 10:11 AM on December 21.
The initial claim about questionable data was brought up by internet investigators. On Saturday, The New York Times countered by stating that the details were untrue.
A Times representative stated in response, “The Baldoni/Wayfarer court documents contain numerous falsehoods concerning The New York Times. For instance, they make a fabricated assertion about The Times having advance access to Ms. Lively’s civil rights complaint. This allegation is baseless. The lawyers for Mr. Baldoni rely on unfounded claims by online detectives, who, predictably, are mistaken. These detectives have pointed out that the version of the Lively complaint published by The Times displays a date of ‘December 10,’ but this document was not filed until after a week had passed. The confusion arises because Google software generates this date and it has no connection to when The Times received and posted the document.
In a courtroom scenario, both The Times and the Lively/Reynolds parties can invoke legal protections to safeguard their ability to engage in litigation and newspapers’ role in reporting on such legal proceedings. If evidence surfaces suggesting that these discussions between The Times and Lively’s team took place outside the boundaries of those protective privileges, Freedman contends that it would remove the legal defenses currently shielding them.
As a cinephile, I’ve got to share an interesting twist in the ongoing lawsuit. The revised court case now includes fresh claims concerning Ryan Reynold’s portrayal of Nicepool alongside Wolverine in “Deadpool & Wolverine.” In this new narrative, David Baldoni alleges that Reynolds intentionally utilized the character to mock and belittle him.
According to the lawsuit, Reynolds depicted Nicepool as an exaggerated version of a ‘woke’ feminist, culminating in his violent death at the hands of Ladypool (a character voiced by Blake Lively). The suit further explains that Nicepool was created to be a satirical and derisive representation of Reynolds’ distorted view of Baldoni.
The lawsuit claims that the Nicepool scene was filmed in January 2024, following an alleged ambush at the residence of Lively and Reynolds, during which Reynolds is said to have scolded Baldoni and insisted he apologize for actions that Baldoni maintains were not his doing.
A representative for Lively or her legal council could not be reached for comment.
On Monday, both parties are set to appear in court for their initial hearing regarding their ongoing federal lawsuits. Lively’s team had predicted that Freedman might launch a website with additional case-related evidence, and they have requested the court to restrain his public relations activities, claiming it could potentially influence the jury selection process.
The site contains files publicly submitted on Friday, which can also be found on CourtListener – a platform granting public access to federal court case records.
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2025-02-02 04:17