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Who's who in the 'It Ends With Us' controversy

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Who's who in the 'It Ends With Us' controversy

The behind-the-scenes machinery of modern Hollywood burst into the open over the weekend as actor Blake Lively filed a legal complaint accusing her “It Ends With Us” director and co-star Justin Baldoni of harassment and creating a hostile on-set working environment. Also included in the complaint are allegations that Baldoni hired crisis PR operatives to wage a sophisticated online smear campaign against Lively as the movie was being released last summer.

As detailed in exhibits accompanying the legal filing, crisis management expert Melissa Nathan responded to a request from Baldoni by saying, “You know we can bury anyone.”

An adaptation of the popular novel by Colleen Hoover, the romantic drama “It Ends With Us,” details an abusive relationship. Released by Sony Pictures, the film has grossed more than $350 million worldwide.

Below is a primer on the key figures involved in the scandal.

Blake Lively

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Lively had her first breakout role in 2005’s “The Sisterhood of the Traveling Pants” and its 2008 sequel. She reached a new level of stardom thanks to her leading role in the hit television series “Gossip Girl,” running from 2007 to 2012. Since then she has appeared in films such as “The Age of Adeline,” “The Shallows” and “A Simple Favor.”

In 2012, Lively married actor and producer Ryan Reynolds, which has increased her visibility and fame, as has her close friendship with superstar musician Taylor Swift. Lively made a cameo appearance in Reynolds’ 2024 hit “Deadpool & Wolverine” and said in an interview that her husband had rewritten a scene in “It Ends With Us.” Lively has more than 45 million followers on Instagram.

In a statement, Lively said of the complaint, “I hope that my legal action helps pull back the curtain on these sinister retaliatory tactics to harm people who speak up about misconduct and helps protect others who may be targeted.”

Justin Baldoni

Baldoni is an actor, director and producer who first gained broader attention by appearing on the CW series “Jane the Virgin” from 2014 to 2019. He previously directed the 2019 romantic drama “Five Feet Apart” and the 2020 biographical drama “Clouds.”

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Baldoni married actress Emily Foxler in 2013. He is also the co-host of the podcast “Man Enough,” described as exploring “what it means to be a man today and how rigid gender roles have affected all people.” Baldoni has nearly 4 million followers on Instagram.

Among the allegations against Baldoni are comments about Lively’s weight, including reaching out to her personal trainer, as well as physical touching and sexual remarks without consent. Lively requested that no more “sex scenes, oral sex or on camera climaxing” be added outside of what was already in the script.

In the filming of a scene in which her character gives birth, Lively alleges that she was pressured into being mostly nude from the chest down and that many non-essential crew members were on set as she was left exposed in a vulnerable position. Additionally, Baldoni cast a personal friend to play the OB-GYN in the scene, which Lively described as “invasive and humiliating.”

In a statement, Bryan Freedman, an attorney who represents Baldoni, Wayfarer Studios and its representatives, called Lively’s allegations “another desperate attempt to ‘fix’ her negative reputation which was garnered from her own remarks and actions during the campaign for the film. … These claims are completely false, outrageous and intentionally salacious with an intent to publicly hurt and rehash a narrative in the media.”

Of the alleged smear campaign Freedman added, “What is pointedly missing from the cherry-picked correspondence is the evidence that there were no proactive measures taken with media or otherwise; just internal scenario planning and private correspondence to strategize which is standard operating procedure with public relations professionals.”

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On Saturday, after the allegations were made public, Baldoni was dropped by talent agency WME, which also represents Lively.

Wayfarer Studios

After his five-year stint on “Jane the Virgin,” Baldoni launched his own production company in 2019. He has cited his Baha’i faith as one of the inspirations behind launching the company, whose stated mission is to “champion inspirational stories that act as true agents of social change.” Its first project, Baldoni’s directorial debut “Five Feet Apart,” a romantic drama about two cystic fibrosis patients, was released that year. It was his work on the film that Baldoni said convinced Colleen Hoover, author of “It Ends With Us,” to grant his company the rights to her book.

Wayfarer is also behind Baldoni’s weekly podcast, “Man Enough,” which aims to explore gender roles and avoid “polarizing and demonizing men and masculinity.” The studio also produced “Will & Harper,” the Netflix documentary about Will Ferrell’s road trip with his transgender best friend Harper Steele, which recently made the shortlist for a potential Academy Award nomination.

Jamey Heath

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Heath, who is named as one of the defendants in Lively’s legal complaint, is Baldoni’s close friend and colleague. In addition to serving as the chief executive officer of Wayfarer Studios and as producer on “It Ends With Us,” he is a co-host of the “Man Enough” podcast. Like Baldoni, the father of four is also a member of the Baha’i faith.

According to Lively’s complaint, on Jan. 4, 2024, Heath was part of a small meeting of “It Ends With Us” collaborators where Lively alleged that the producer and Baldoni had engaged in “inappropriate conduct” on set. Lively claimed that Heath pressured her to “simulate full nudity” in a birth scene and showed her a video of his wife in labor “fully nude … with her legs spread apart.” When Lively expressed alarm, she said, Heath replied that his wife “isn’t weird about this stuff.”

Heath insisted on taking a meeting with Lively while she was “topless and having body makeup removed,” according to the legal document. Though he agreed to keep his back turned to her, she said, he instead stared directly at her.

Steve Sarowitz

Sarowitz, the billionaire co-chairman of Wayfarer Studios, is one of the primary financiers of Baldoni’s production company, investing at least $125 million in the venture. He amassed his fortune after taking his payroll firm, Paylocity, public in 2014; he is now worth a reported $2.7 billion. Sarowitz is also a member of the Baha’i community.

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Lively’s complaint alleges that at the New York premiere of “It Ends With Us” in August, Sarowitz said he was “prepared to spend $100 million to ruin the lives of Ms. Lively and her family.” Further, the document says, Sarowitz “flew in for one of his few set visits” on the day that Lively was filming the birth scene where she only had a “small piece of fabric covering her genitalia.”

Jennifer Abel

Abel, founder and CEO of RWA Communications, is the publicist for Baldoni and Wayfarer. In July, she founded her own public relations company after serving as a partner at the communications firm Jonesworks. Her client roster is relatively small; Baldoni and actor Jameela Jamil are the most well known names she represents.

Lively’s legal complaint includes dozens of private text messages and emails between Abel, Baldoni and other communications experts that the actor claims show intent to destroy her reputation. According to those messages, Baldoni first expressed concern to Abel in May that Lively’s on-set allegations could go public. That was when Baldoni noticed that Lively’s husband, Ryan Reynolds, had blocked him on social media, the complaint says.

“HE BLOCKED YOU?! Is he a 12 year old girl?!” Abel texted Baldoni, per the document. “We can put the plan down on paper … to make sure we have all of the documentation needed of what happened on set, who witnessed what and who would be our Allies to go on background if needed to shut down her claims.”

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By then, the complaint alleges that Abel was already in touch with a crisis communications expert, Melissa Nathan, relaying that Baldoni “wants to feel like [Lively] can be buried.”

Melissa Nathan

Nathan, co-owner and CEO of the Agency Group, was officially brought in by Abel in July to work for Baldoni, according to Lively’s complaint. The document says Nathan quoted the actor a fee of up to $175,000 for three to four months of her work.

The Agency Group then created a “scenario planning” document for Wayfarer to be implemented if Lively were to make her “grievances” public. According to this document, which was cited in Lively’s complaint, one idea was to float the narrative that Lively involved Reynolds in the filmmaking to “create an ilmalance [sic] of power between her” and Baldoni. The PR firm also suggested reminding reporters that Lively has a “less than favorable reputation in the industry” and has “issues” working with Leighton Meester, Anna Kendrick and Ben Affleck.

A month before starting her work with Wayfarer, Nathan in June announced the launch of her own public relations firm after departing Hiltzik Strategies, the crisis PR firm where she was executive vice president.

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Nathan’s new company is partially owned by Ithaca Media Ventures, according to corporate registration records filed in California. Ithaca is owned by HYBE America, whose CEO is entrepreneur and former talent manager Scooter Braun. HYBE America is one of the Agency Group’s clients, along with Johnny Depp, Logan Paul and Drake.

Jed Wallace

According to Lively’s complaint, Wallace is a public relations contractor from Austin, Texas, whom the Agency Group hired to “seed and influence” negative social media discussion about the actor.

In an Aug. 9 text message referenced in the complaint, Nathan relays to Abel that Wallace said “we are crushing it on Reddit.” A day later, the alleged messages show, Abel compliments Wallace “and his team’s efforts to shift the narrative” about Baldoni.

Scooter Braun

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Braun, the former manager of Justin Bieber and Ariana Grande, now runs the U.S. arm of the South Korean entertainment company HYBE. HYBE America is a co-founder of Nathan’s company, the Agency Group, and one of its clients.

Braun has also been engaged in a years-long public dispute with Swift, who is one of Lively’s best friends. The battle between the singer and the executive began in 2019, when Braun acquired the record label Big Machine, which held the rights to the master recordings for Swift’s music from her 2006 self-titled debut to 2017’s “Reputation.” Swift responded by launching the “Taylor’s Version” series of rerecordings and rereleases of those albums.

In Lively’s complaint, Nathan sends a June text message telling the Wayfarer team that she is aware the actor “does have some of the TS fanbase so we will be taking it extremely seriously.”

Later, in the Agency Group’s “scenario planning” document, the company says its team could explore “planting stories about the weaponization of feminism and how people in BL’s circle like Taylor Swift, have been accused of utilizing these tactics to ‘bully’ into getting what they want.”

Times staff writer Matt Hamilton contributed to this report.

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‘Children of Blood and Bone’ author won’t see film after feud with star Amandla Stenberg

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‘Children of Blood and Bone’ author won’t see film after feud with star Amandla Stenberg

Tomi Adeyemi, the author of the bestselling fantasy “Children of Blood and Bone,” isn’t planning to see the forthcoming film adaptation — even though she co-wrote it.

Over the weekend, the Nigerian American author posted a video on TikTok addressing fans who have been asking her the same question, “Why don’t you post about the adaptation of your first film adaptation anymore?”

“There is a reason I will not post anything about the adaptation of my work,” the author wrote in what appear to be screenshots of a group chat. “I have not seen the film, and I will not watch it.”

The adaptation of the first installment of Adeyemi’s “Legacy of Orïsha” fantasy trilogy is slated to hit theaters in January 2027. Gina Prince-Bythewood — who wrote and directed “Love & Basketball” and helmed “The Woman King” — is directing. The film stars Amandla Stenberg, Thuso Mbedu, Tosin Cole, Damson Idris, Cynthia Erivo, Lashana Lynch, Regina King, Idris Elba, Chiwetel Ejiofor and Viola Davis.

Alongside the screenshots of her comments in the group chat, she shared a February 2025 exchange with Stenberg that shows the author severing ties with the actor.

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Adeyemi shared only her final message to Stenberg, which reads, “Do not ever use my name in an interview or video again. Do not text me. Do not call me.” That exchange is followed by a notification that she blocked Stenberg, who plays Princess Amari in the upcoming fantasy flick.

The message from Stenberg that preceded Adeyemi’s reply is not shown in full.

Stenberg, who played Rue in “Hunger Games,” Starr Carter in “The Hate U Give” and, recently, Verosha “Osha” Aniseya and Mae-ho “Mae” Aniseya in Disney’s “Star Wars” series “The Acolyte,” had been getting flack from readers of the series, who claimed colorism was an issue while casting the movie.

In February 2025, Stenberg posted a since-deleted nine-minute TikTok addressing the controversy and told followers that Adeyemi had given the actor her blessing when cast as the series’ princess.

“I am four months into training for ‘Children of Blood and Bone’ and I am getting my ass whooped,” Stenberg joked in the video, per BET.

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“This year was mostly defined for me, honestly, by contending with what it felt like to receive racist death threats just for existing in the ‘Star Wars’ universe, and that was a really difficult thing for me to move through,” she continued. “But honestly, it feels so much more painful for me to feel like I’m at odds with my own community.”

Stenberg said that she considers her skin tone when navigating her career choices and would “never go after a role” she didn’t feel well suited for. “I know that colorism is an insidious system that relentlessly impacts every facet of entertainment.”

The actor continued that it was actually a meeting with the “Children of Blood and Bone” author that gave her the confidence to pursue the role.

“I had the opportunity to meet Tomi, the novelist, for the first time. … And she goes, ‘Amandla, I want you to know that when you were a little girl and you were cast as Rue in “The Hunger Games,” and people said that Rue’s death wouldn’t be as sad because you’re a Black girl — that inspired me to write this series so that Black girls like you and Black girls of all shades could have a story written about them,’” Stenberg said in the video. “We started crying, and I said to myself, ‘God wants me here.’”

Representatives for Stenberg, Adeyemi and Prince-Bythewood did not immediately respond to The Times’ request for comment.

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‘Night Nurse’ Review: A Caretaker Explores Her Kink for Elder Abuse in the Year’s Strangest Erotic Thriller

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‘Night Nurse’ Review: A Caretaker Explores Her Kink for Elder Abuse in the Year’s Strangest Erotic Thriller

There are any number of erotic thrillers in which rich old men are robbed blind and/or left for dead, but Georgia Bernstein’s admirably bizarre “Night Nurse” might be the first movie of its kind where elder abuse is the source — and possible subject— of its erotic thrills. If there are others, I’m not sure I want to know.

But this woozy debut feature doesn’t rely on its audience being turned on by the relationship between a nubile caretaker and her dementia-addled patient. Their psychosexual bond, meanwhile, hinges on cold-calling vulnerable old people under the guise of a grandchild in financial distress. (“I’m in trouble, nana, send me $10,000 or I’ll be left to rot in jail!” That sort of thing). With its slim wisp of a premise stretched into a Strickland-esque dreamscape that substitutes kink for conflict, the film itself hardly seems convinced by its own wrinkled lust — all desperate kisses and non-touching poses of subservience. More important to Bernstein is what that lust reveals about her characters’ deepest needs, specifically how their need to care and be cared for can be as easily perverted as any other form of desire. 

The Five-Star Weekend series stars D'Arcy Carden as Brooke, Regina Hall as Dru-Ann, Chloë Sevigny as Tatum, Jennifer Garner as Hollis, Gemma Chan as Gigi, shown here posing for a photo

As moody and weightless as the noir-accented score that blows through the movie like a curlicue gust of wind in an old cartoon (credit to musicians Sam Clapp and Steven Jackson), “Night Nurse” lacks the pulse required for its stray feelings to come alive. Still, the film ambiently taps into the latent eroticism of teasing out the distance between how you see yourself and who you really are. Bernstein plays with that distance like a telephone cord wrapped around her fingers, and Eleni — played by the excellent newcomer Cemre Paksoy, powerfully helpless — only frays even more as the receiver is brought near the hook. “Everything I did before today wasn’t me,” the nurse tells co-worker Mona (Eleonore Hendricks) after starting a new job at an Illinois retirement home. “It was somebody else.” 

What she did before today remains unexplored (specifically, what she did to get herself fired from her last gig), but I’m guessing she’s probably changed less than she thought. There’s a faraway flicker in her eyes the moment she catches the vibe between Mona and Douglas (a ribald and elusive Bruce McKenzie), a white-haired seventysomething who shows early signs of dementia but still commands an undiminished sexual energy. “I’m not an invalid,” he coos as Mona bathes him in the tub, to which she replies, “yes, you are,” in a supplicant tone that hints at a rich history of power games between them. 

Later that same night, Douglas will force Eleni to call a stranger, pretend that she’s their granddaughter, and ask for money — he’ll wrap the phone cord around the nurse’s body as she talks and shove her against the wall as they kiss. She’s into it. So into it that he has to clarify the terms of his whole deal: “If you’re looking for a pogo stick, I’m really not your guy.” But Eleni isn’t looking for anything to bounce on. She just wants to be needed, and maybe to need someone in return. Someone who will see her for who she really is and allow her the fantasy of pretending she isn’t being herself when she cons vulnerable strangers out of their money — when she exploits how enthralled those strangers are by the care they have for their loved ones.

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“Night Nurse” doesn’t belabor the psychology, as Bernstein prefers to express her story through heavy-lidded suggestion. Somnambulating from the moment it starts, the film moves through a series of beautifully arranged poses that stretch their latent meaning thin across the surface (Lidia Nikonova’s cinematography lacquers every shot with a seductive dreaminess). We see Douglas smoking in a lawn chair with Mona and Eleni curled around his feet. Eleni riding in the backseat of a convertible as the wind blows through her curls. The full staff of nurses — all of them under Douglas’ sway — stumbling around his condo in a state of zonked out bliss as they roll on the prescription drugs they’ve stolen from the residents. 

Once you’ve seen one shot of this movie, you’ve practically seen them all, at least until things escalate during a rushed and unsatisfying third act that forces Eleni into an honest confrontation with herself. People will do just about anything to feel needed — they’ll give whatever degree of care allows them to receive it in return. “Night Nurse” understands that desire, but remains far too numb to treat it. 

Grade: C+

The Independent Film Company will relase “Night Nurse” in theaters on Friday, July 10.

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Lucas Museum to give free annual passes to South L.A. neighbors, host community preview day

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Lucas Museum to give free annual passes to South L.A. neighbors, host community preview day

The Lucas Museum of Narrative Art, which is moving at light speed toward its Sept. 22 opening, announced Thursday that it will give free annual passes to its South L.A. neighbors living in the 90037 ZIP Code. The 300,000-square-foot, $1-billion museum located in Exposition Park will also host a special community preview day on Sept. 13, more than a week before the general public gets to step inside.

The 90037 ZIP Code has a population of more than 65,000 and is bordered roughly by the 110 Freeway to the west, Slauson Avenue to the south, Central Avenue to the east and Martin Luther King Jr. Boulevard to the north. Residents can register for passes at lucasmuseum.org/lm37 and will be alerted in August when the program launches. Pass holders can reserve tickets for themselves and one guest.

Tickets for non-pass holders go on sale July 21. They cost $25 for adults and $21 for seniors. Kids 17 and under are free.

“Storytelling has the power to bring people together and create a sense of community,” said Lucas Museum Chief Executive Tracey Bates in a news release about the program. “Through LM37, we are inviting our South Los Angeles neighbors to make the museum part of their lives and take their own path of discovery through the art, programs and experiences that will help shape this new cultural hub for Los Angeles.”

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The community preview day is designed to give local business owners, community partners, civic leaders and registered LM37 pass holders a sneak peak of the 10,000 square feet of exhibition space, as well as the expansive gardens with 11 acres of park space.

The opening programming, curated by co-founder George Lucas, features 20 inaugural exhibitions across more than 30 galleries, including one titled “Star Wars in Motion,” containing vehicle designs, high-speed racers, flying vessels, props, costumes and illustrations from the first six films in the beloved franchise.

More than 1,200 objects will be on display from Lucas’ personal collection of narrative art. Highlights include work by Norman Rockwell and Dorothea Lange, as well as a variety of manga, children’s book illustrations and comics.

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