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Blake Lively- Jason Baldoni and NYT - False Light claims
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Anonymous
They would never even though RR wrote JB a letter he was supposed to make public. |
Anonymous
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There's no way Lively's team put out those HR statements. Whatever you might think of Lively, doing that could expose anyone working for her to serious defamation liability. And the professionals around her know that. The attorneys would also risk disbarment. They wouldn't do that.
I think they must have come from a third party. |
Anonymous
+50 |
Anonymous
| I bet P Diddy and Jay Z are really grateful for BL and RR. |
Anonymous
Jay Z’s case was dismissed |
Anonymous
Probably, but seems worth exploring. This whole case is about shady tactics after all. |
Anonymous
| Did Blake's lawyer say for sure they were amending their complaint? If they aren't adding anyone on the case then they probably aren't |
Anonymous
Anonymous
Is the insider the editor from perez's comment |
Anonymous
Sometimes it takes awawhile for the databases to update |
Anonymous
What insider? Emily Baldoni? |
Anonymous
It was an assistant director. I don’t think the Daily Mail was the only publication she talked to. |
Anonymous
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https://www.courtlistener.com/docket/69510553/84/lively-v-wayfarer-studios-llc/
Its out. Jed has been added |
Anonymous
Thank you PP!!! |
Anonymous
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I CTRL-Fed looking for what they said about the dance scene:
81. On another occasion, Mr. Baldoni and Ms. Lively were filming a slow dance scene for a montage scene, meaning that none of the sound recorded while filming the scene was meant to be used in the Film. Music was intended to play over the action. Nonetheless, microphones were live to pick up “room tone” but not conversations or dialogue to be used in the Film. The scene in the script specifically described dancing without dialogue and did not include any intimate conduct or kissing. 27 approved in the script and without an intimacy coordinator there. Mr. Baldoni insisted on shooting the full scene over and over again, well beyond what would have been required on an ordinary set, and without advance notice, conversation, or consent. 81. On another occasion, Mr. Baldoni and Ms. Lively were filming a slow dance scene for a montage scene, meaning that none of the sound recorded while filming the scene was meant to be used in the Film. Music was intended to play over the action. Nonetheless, microphones were live to pick up “room tone” but not conversations or dialogue to be used in the Film. The scene in the script specifically described dancing without dialogue and did not include any intimate conduct or kissing. 82. Mr. Baldoni did not provide notice or seek consent for any intimacy in advance. Instead, Mr. Baldoni chose to spontaneously improvise the scene while the cameras were rolling. During the filming, Mr. Baldoni repeatedly leaned in toward Ms. Lively, attempting to kiss her, kissing her forehead, rubbing his face and mouth against her neck, putting his thumb to her mouth and flicking her lower lip, caressing her, and telling her how good she smells. None of this took place while Mr. Baldoni was “in character” as Ryle, because both the intimacy and dialogue departed from what had been agreed to in the script. Ms. Lively was uncomfortable and kept leaning away and repeatedly suggesting, and then begging, that their characters should just talk. She tried to use levity and “creative” pleas to deflect the unwanted touching, hoping to get through the scene in a way that maintained a professional boundary without antagonizing Mr. Baldoni Footnote: (The fact that Ms. Lively varied the number of kisses in other scenes in which the kissing was scripted in advance does not justify Mr. Baldoni’s improvisations or his attempts to add graphic sex scenes into the Film. In other scenes, the kissing was consistent with the plot, it had structure and blocking, and most importantly, it was discussed in advance and was mutually consensual. There can be flexibility in such scenes, but it must be within appropriate boundaries, and the key is advance planning and consent. Mr. Baldoni acted without planning, without consent, and grossly outside of acceptable boundaries. He made it personal and repeated, even after Ms. Lively spoke up, and became defensive and dismissive when challenged, no matter how politely she mentioned it.) The video footage of the scene shows Ms. Lively to be trapped, having to appear as though her character was happy and in love while the cameras were rolling. Ms. Lively did not want to film additional takes on the scene but continued to participate to be a team player and support the production in real time while simultaneously expressing and holding physical boundaries against Mr. Baldoni’s advances. Ms. Lively even referred to Mr. Baldoni as a “sociopath” at one point during the exchange. Notwithstanding Ms. Lively’s attempts at humor and levity, her words, actions, and body language all evince her lack of consent. When Ms. Lively later objected to this behavior, Ms. Baldoni’s response was, “I’m not even attracted to you.” 83. In January of 2025, the Defendants, through their attorney Bryan Freedman, released this video to the media, apparently hoping that the mere act of releasing the footage would mislead the public into believing that it shows nothing abnormal or improper. But the footage by itself corroborates Ms. Lively’s description of the scene to the letter. That is not just Ms. Lively’s view. As Mia Schachter, an independent and “experienced intimacy coordinator” noted in response to an inquiry from the Hollywood Reporter, the footage shows Mr. Baldoni “trying to kiss her, and they clearly haven’t discussed that ahead of time, and she keeps pulling away and clearly doesn’t want to do that.” Improved intimacy in this scene would not have been flagged for an intimacy coordinator in advance, Ms. Schachter explained, because in the script “[t]hey’re just slow dancing. There’s not any mention of any kind of physical intimacy.” As she explained, even though Ms. Lively is “not powerless,” she “still has to keep working with him and keep the peace and play nice,” and “I can just see her trying to stay lighthearted and in good spirits about it and not upset him or anybody, and not waste anybody’s time. But of course she is trapped between a rock and hard place. I can see her appeasing him and trying to keep a smile on her face.” She continued: “In terms of the hierarchy on a set, he is in charge.” Even though Ms. Lively is “the star,” she observed, “he is the director and she’s supposed to take direction from him.” Ultimately, the fact that Mr. Baldoni, the Director, without advance consent “just went for it,” then “did it again” after she “pulled away,” is “pretty damning, both as an actor and a director.”17 Neither Ms. Lively nor any of her agents had any contact with Ms. Schachter, nor were they even made aware of the Hollywood Reporter article until it was published. Nonetheless, on information and belief, Mr. Freedman sent letters threatening potential legal claims to both Ms. Schachter and the Hollywood Reporter following the publication of the article. |