Justin

BLAKE Lively has broken her silence after a judge threw out most of her claims against Justin Baldoni.

Ten of the 13 claims Lively, 38, filed against Baldoni, 42, were thrown out on Thursday, April 2, by a judge.

The claims relating to harassment, defamation and conspiracy follow conflict while the pair filmed the 2024 Colleen Hoover adaptation It Ends With Us.

The remaining claims against Baldoni’s company Wayfarer Studios, which include breach of contract and retaliation, will move forward to trial.

“This case has always been and will remain focused on the devasting [sic] retaliation and the extraordinary steps the defendants took to destroy Blake Lively’s reputation because she stood up for safety on the set and that is the case that is going to trial,” said Sigrid McCawley, member of Lively’s legal team, told PEOPLE.

“For Blake Lively, the greatest measure of justice is that the people and the playbook behind these coordinated digital attacks have been exposed and are already being held accountable by other women they’ve targeted.

“She looks forward to testifying at trial and continuing to shine a light on this vicious form of online retaliation so that it becomes easier to detect and fight.”

District Judge Lewis Liman said Lively sued under California law but the alleged wrongful conduct took place elsewhere.

He also cited other issues in the cases, such as the fact that Lively had not signed an agreement that would have governed sexual harassment on set.

The judge said the actress could pursue her retaliation claims, among others, against Baldoni’s studio.

“Sexual harassment isn’t going forward not because the defendants did nothing wrong but because the court determined Blake Lively was an independent contractor, not an employee, said McCawley.

Justin Baldoni responds to judge throwing out case

“We’re very pleased the Court dismissed all sexual harassment claims and every claim brought against the individual defendants: Justin Baldoni, Jamey Heath, Steve Sarowitz, Melissa Nathan, and Jennifer Abel,” said Baldoni’s attorneys, Alexandra Shapiro and Jonathan Bach to The Daily Mail.

“These were very serious allegations, and we are grateful to the Court for its careful review of the facts, law and voluminous evidence that was provided.

“What’s left is a significantly narrowed case, and we look forward to presenting our defense to the remaining claims in court.”

Lively claimed that Baldoni kissed her during a scene where the script didn’t call for it and said he entered her trailer while she breastfed.

The actress also claimed that Baldoni tried to harm her reputation after she asserted he had created a problematic work environment.

Baldoni claimed Lively and her husband, Ryan Reynolds, tried to tarnish his reputation, engaged in extortion, and hijacked creative control of the romance film.

Baldoni’s $400 million defamation lawsuit against Blake was dismissed by a judge in November.

The pair will now appear in court on May 18 in New York.

Legal representatives for both have said Baldoni and Lively both plan to testify.

BLAKE Lively’s sexual harassment lawsuit against Justin Baldoni has been dismissed, just weeks before going to trial.

The actress alleged that her It Ends with Us co-star and director, Justin, engaged in inappropriate conduct during filming.

On Thursday, a judge threw out her sexual harassment claims, according to TMZ, which broke the story.

However, Blake’s numerous other allegations, including retaliation, will go to trial next month.

The Gossip Girl alum claimed that Justin attempted to harm her reputation after she asserted he had created a problematic work environment.

Meanwhile, Justin alleged that Blake and her husband, Ryan Reynolds, tried to tarnish his reputation, engaged in extortion, and hijacked creative control of the romance film.

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He initially filed a $400 million defamation lawsuit against Blake, though that was dismissed by a judge in November.

Blake and Justin are set to appear in court on May 18.

The legal dispute has also involved Blake’s BFF, Taylor Swift, and is reported to have caused tension between the two.

In January, The U.S. Sun exclusively revealed that Taylor’s upcoming wedding to NFL star Travis Kelce could be impacted by Blake’s ongoing court battle with Justin.

Shocking personal texts between Taylor and Blake discussing Blake’s challenges with Justin were unsealed in the lawsuit.

According to TMZ, the singer could be called as a hostile witness for the defense in court, which is scheduled to take place shortly before her fairytale wedding to Travis.

The U.S. Sun exclusively revealed that Travis has urged Taylor to distance herself from the situation and to set firm boundaries.

Blake and Justin’s feud began when they started filming It Ends with Us in May 2023, in which they played love interests.

The movie premiered in August 2024, and Blake made her complaint about Justin’s behavior shortly after.

At the time of publishing, neither Blake nor Justin has commented on the dismissal.

Last week, Blake shared an Instagram post about her “emotional roller coaster” after traveling to Wales to watch Wrexham AFC play.

Her husband, Ryan, has co-owned the team with fellow actor Rob McElhenney since 2021.

Blake posted a slideshow of photos of her smiling at various locations during the trip.

A federal judge has dismissed Blake Lively’s sexual harassment claims against her “It Ends With Us” co-star and director Justin Baldoni, sharply narrowing a case that has become one of Hollywood’s most closely watched legal battles.

In a ruling issued Thursday, U.S. District Judge Lewis Liman threw out 10 of the 13 claims in Lively’s suit, including harassment, defamation and conspiracy claims. The remaining claims — centered on retaliation, along with breach of contract and related allegations — will proceed to trial.

Sigrid McCawley, a member of Lively’s legal team, said the case will now move forward on retaliation claims, which they described as its central focus from the outset.

“This case has always been and will remain focused on the devastating retaliation and the extraordinary steps the defendants took to destroy Blake Lively’s reputation because she stood up for safety on the set, and that is the case that is going to trial,” McCawley said. “She looks forward to testifying at trial and continuing to shine a light on this form of online retaliation.”

McCawley added that the dismissal of the harassment claims was based on the court’s determination that Lively was an independent contractor rather than an employee, not a finding that the alleged conduct did not occur.

The decision marks the latest turn in a sprawling dispute that has played out across multiple lawsuits and raised broader questions about workplace conduct, free speech and the limits of retaliation claims in the post-#MeToo era.

The legal fight traces back to the production and release of “It Ends With Us,” the 2024 romantic drama that grossed roughly $350 million worldwide but became overshadowed by reports of a rift between its two leads.

In late 2024, Lively accused Baldoni of inappropriate on-set behavior, including comments about her appearance and alleged retaliation after she raised concerns. Baldoni has denied the allegations, arguing that Lively sought to wrest creative control of the film and damage his reputation.

The case has unfolded alongside a parallel legal offensive from Baldoni, who filed a sweeping $400-million countersuit accusing Lively, her husband Ryan Reynolds and others — including the New York Times — of defamation and extortion. That lawsuit was dismissed in June, with Liman finding the claims legally insufficient.

At the same time, Lively has sought to frame the dispute as a test case for California’s relatively new law protecting people who speak publicly about sexual misconduct. Advocacy groups including Equal Rights Advocates, Child USA and Sanctuary for Families have backed her efforts, warning that allowing retaliatory defamation claims to proceed could chill survivors from coming forward. The statute, enacted in 2023, is designed to shield individuals from being sued for speaking out about harassment, provided their statements are not made with actual malice — a legal standard that has become central to the broader fight between the two sides.

Thursday’s ruling does not resolve the broader questions raised by the case but significantly narrows the terrain ahead of a trial scheduled to begin in May. While the judge found that Lively’s harassment claims did not meet legal standards and will not go to a jury, he ruled that some of the underlying conduct could still be considered as part of her retaliation claims.

The two sides previously attempted mediation in February without reaching a settlement.

Representatives for Baldoni did not immediately respond to a request for comment.

THIS is the moment Justin Timberlake is put in cuffs as the body cam footage of his arrest for drink driving is released.

The pop star, 45, was arrested in Sag Harbor, New York, in June 2024 after he failed to stop at a stop sign and could not stay in his lane.

Shortly after leaving The American Hotel following a night out with friends, the singer was pulled over while traveling southbound on Madison Street, a public highway in the Hamptons village.

Cops, often stationed nearby, noticed Justin swerving on the road and blowing through a stop sign.

They later smelled alcohol on his breath and noted that he was unsteady on his feet and also had slowed speech and glassy eyes.

The body cam footage of his arrest was released on Friday after the star’s legal team reportedly tried to previously prevent its release.

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In the video, an officer can be seen shining a flashlight in Timberlake’s face at the roadside before the star performs poorly on sobriety tests.

He is asked to walk in a straight line but has difficulty with the instructions, appearing confused.

Timberlake tells them: “Guys, I’m just following my friends back to my house. I’m not doing anything.”

While attempting the sobriety test, he stumbles before apologising and saying ” I’m a little nervous”.

When asked to do the next test, the officers are forced to explain multiple times before Timberlake says “sorry, my heart is racing” while clutching his chest.

Looking unsteady on his feet, the singer is then heard saying: “By the way, these are like, really hard tests.”

After failing the roadside tests, an officer is then seen asking Timberlake “turn around for me please”.

Saying nothing and looking resigned, he slowly turns before he’s put in handcuffs.

A friend appears and is shocked when police tell her Justin is going with them, saying: “You’re arresting Justin Timberlake? Stop it. What?”

She pleads with the officers to speak with him and give him his phone before she takes his car home.

She begs: “Can you guys please do me a favour because you loved Bye Bye Bye or Sexy Back, do me one favour. This is insane.”

At the end of the footage, the 10-time Grammy winner can be seen in the back of a cop car behind bars.

He was taken into custody that night and arraigned in Sag Harbor Village Justice Court the following morning.

He was released without bail on his recognizance and was also charged with one count of DWI due to his refusal of the breathalyzer, according to Justin’s lawyer.

Timberlake’s lawyers previously sued the Village of Sag Harbor to prevent the release as it showed him “in an accutely vulnerable state”, reports CBS.

It was later agreed it would be released with redactions.

That September, Timberblake reached a plea deal to bring the case to an end.

The judge sentenced Justin to a $500 fine with a $260 surcharge, and 25 hours of community service at the nonprofit of his choosing.

After the sentencing, Justin said: “Even if you’ve had one drink, don’t get behind the wheel of a car.

“There are so many alternatives. You can call a friend [or] take an Uber.”

He added: “This is a mistake that I made, but I’m hoping that whoever is watching and listening right now can learn from this mistake. I know that I certainly have.”

During the proceedings the star remained standing throughout and gave a statement in which he expressed remorse for his actions.

Everyone’s getting into podcasts — even demons.

“undertone,” a muted, personal and static microbudget horror debut by Ian Tuason, takes place in the writer-director’s actual childhood home where he tended to both of his parents before they died. Both hospice and inspiration, it’s a stifling place decorated with floral wallpaper and crucifixes. The pain and exhaustion and grief are so real and oppressive, the camera never dares set a foot outside.

Upstairs, Evy (Nina Kiri), watches over her own terminally ill mother (Michèle Duquet). Tuason funneled his emotional gloom into this movie; Evy co-hosts a horror podcast with her overseas best friend Justin (voiced by Adam DiMarco). “This is the only thing keeping me sane right now,” she says. They’re words she’ll regret within the week.

Kiri and DiMarco have the comfortable, convincing chemistry of two old pals who have done a show for a while. One snippet seems to be an episode on Elisa Lam, the real-life tourist found dead in the rooftop water tank of Los Angeles’ Cecil Hotel. There’s also a reference to a website with a red-faced ghoul who hypnotizes victims into cutting off their ears. The latter may be Tuason seeding his idea for a sequel.

Here the central story is that Justin, who lives in London, has received an email with 10 audio files recorded by a couple named Mike and Jessa (Jeff Yung and Keana Lyn Bastidas) who are trying to understand what she’s saying in her sleep. The sender is unknown. (Possibly an evil spirit hoping for the exposure of a mattress ad?) Justin, the believer, is instantly alarmed by how these eerie tapes escalate from cute banter to ghostly crying babies and backward incantations. Evy is the skeptic who dismisses the noises as either an online hoax or bad plumbing.

Due to the time zone differential, Evy and Justin record their show just before he heads out to work in the morning, which for her is 3 a.m. Most of the movie takes place in that witching-hour window, an airlessly silent time where an at-home podcaster doesn’t worry about being interrupted by a leaf blower, an ice cream truck or a dog. Sound-designed by David Gertsman, “undertone” is so quiet that a tea kettle sounds like a fire alarm. Story-wise, it’s equally inert. One of the biggest action shots in the first hour comes when — eek! — a sink turns on.

I’d love to understand why horror films that I find excruciatingly dull give others the heebie-jeebies. My working theory is that they tap into audiences with a preexisting suspicion that the world is wicked — they prove paranoia to be well-founded. My mental default is that the world is neutral-good, and that may be why I prefer movies with active villains scaring me out of my complacency. I spent “Paranormal Activity” and “Skinamarink” restlessly admiring the production design; here, my main thrill came from the soundscape, like when a vibrating cellphone made my chair rattle like it was a tractor, or a noise that can only be described as death-rattle ASMR.

When Evy slips her on headphones, she’s so focused making sense of the latest scary tape, playing it forward, reversed and slowed-down, that she’s oblivious to the bumps in the night in her own house, upstairs near her comatose mother’s bedroom. I suspect Tuason deeply relates to Evy, to the disassociation of living with death every day, and uses her resistance to explore denial. She refuses to admit that the supernatural is real, even as she repeatedly takes a break to steady herself and, as she puts it, “get back into character.” Her stifled panic makes it obvious that fear is taking over.

The screenplay also has a passing reference to Evy’s useless, off-screen boyfriend Darren (voiced by Ryan Turner). Their miserable dynamic is compelling but overall comes off like a plot point Tuason stuffed in his pocket and never got around to using. Our one peek into it comes when Darren phones Evy to pressure her to ditch her mom and come to a party. He claims he’s throwing a kegger to cheer her up. (A frozen lasagna on the doorstep would be better, dude.)

Evy does reluctantly leave the house — we don’t follow her there — and that one moment says as much about crossed-signals communication as anything else in the movie. It’s bullseye-accurate about how isolating it is to lose a parent earlier than your peers.

The film is so committed to its rigors — the two-person cast, the glacial camera pivots, the moody lighting — that it teeters on the line of becoming monotonous. When Tuason eases up a bit, say in a scene in which Evy pops on a sleep podcast that begins by describing a babbling brook and rapidly becomes a nightmare tale of bobbing corpses, he finally shows you that he has the potential for range.

But “undertone” is rooted in that slow-and-still horror discipline that holds its breath waiting for something to happen. It requires the audience to bring their own bad vibes to shots of religious icons on the wall and long takes of Evy clacking on her laptop, unaware of a flickering light behind her. (Rumor is Tuason has already signed on to shoot the next “Paranormal Activity” sequel.)

Mostly it puts the audience in the position of watching a protagonist so passive that chunks of the running time are watching her sit at a table waiting for Justin to look up things for her on Wikipedia. Like amateur detectives, we learn alongside them as they click around pages about Sumerian devils, Catholic saints and the origin of the nursery rhymes “London Bridge” and “Baa, Baa, Black Sheep.”

As visuals go, “undertone” is so far removed from anything resembling the cinematic experience that I left with a fresh appreciation for campfire storytelling. At least then the listener gets to use their own imagination. But production designer Mercedes Coyle does dig up two satisfyingly creepy props: one, an antique speaking doll, the other, a small white statue that appears to be the Virgin Mary until we get a better look at her mouth, deformed by a hungry scream.

Despite my quibbles with how her character reacts when things really go awry, Kiri’s Evy has a clarity of purpose that holds our attention despite not having that much to do. In her strongest sequence, she and Justin take a few live callers on their podcast, some of whom bear bad news about Mike and Jessa, and another who phones up in the middle of a crisis that’s too big for these self-positioned experts to handle. Real violence is coming and these armchair ghosthunters are totally out of their depth. Yes, everyone is into podcasts. Maybe they shouldn’t be.