logo
Justin Baldoni's lawsuit against Blake Lively dismissed by federal judge

Justin Baldoni's lawsuit against Blake Lively dismissed by federal judge

Yahoo3 days ago

Justin Baldoni's lawsuit against Blake Lively was dismissed by a federal judge in New York on Monday.
The "It Ends With Us" co-stars have been in a heated legal feud since 2024.
In his motion, Judge Lewis J. Liman dismissed Justin Baldoni's $400 million countersuit against Lively, her husband Ryan Reynolds, the couple's publicist, Leslie Sloane, as well as Baldoni's defamation claim against The New York Times.
"The alleged facts indicate that the Times reviewed the available evidence and reported, perhaps in a dramatized manner, what it believed to have happened," the opinion said. "The Times had no obvious motive to favor Lively's version of events."
Baldoni has until June 23 to refile some of his claims.
Lively's lawyers, Esra Hudson and Mike Gottlieb, called the dismissal a "total victory and complete vindication for Blake Lively, along with those that Justin Baldoni and the Wayfarer Parties dragged into their retaliatory lawsuit, including Ryan Reynolds, Leslie Sloane and The New York Times."
"As we have said from day one, this '$400 million' lawsuit was a sham, and the Court saw right through it," the statement continued. "We look forward to the next round, which is seeking attorneys' fees, treble damages and punitive damages against Baldoni, Sarowitz, Nathan, and the other Wayfarer Parties who perpetrated this abusive litigation."
This is a developing story. Please check back for updates.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Ananda Lewis, Former MTV VJ and Talk Show Host, Dies at 52
Ananda Lewis, Former MTV VJ and Talk Show Host, Dies at 52

Yahoo

time2 hours ago

  • Yahoo

Ananda Lewis, Former MTV VJ and Talk Show Host, Dies at 52

Ananda Lewis has died at the age of 52. The former MTV VJ's sister Lakshmi announced news of her death in a Facebook post shared on Wednesday, June 11. "She's free, and in His heavenly arms," she wrote, alongside a series of broken heart emojis and a black and white portrait of Lewis. "Lord, rest her soul 🙏🏽" Lewis became well known in 1997 when she was hired to be one of MTV's VJs, hosting shows like Total Request Live and Hot Zone. In 1999, The New York Times dubbed her 'the hip-hop generation's reigning It Girl.' She left MTV in 2001 to host her own talk show, The Ananda Lewis Show. Lewis revealed in a 2020 Instagram post that she had been diagnosed with stage III breast cancer. She said that she had not been getting regular mammograms because of her fear of radiation. In October 2024, Lewis took part in a roundtable discussion with CNN's Stephanie Elam (her friend from college) and CNN anchor Sara Sidner in which she revealed that she went against medical advice and did not have a double mastectomy after she was diagnosed. Her tumor had metastasized, and her cancer had progressed to stage IV, she shared. 'My plan at first was to get out excessive toxins in my body. I felt like my body is intelligent, I know that to be true. Our bodies are brilliantly made,' Lewis said. 'I decided to keep my tumor and try to work it out of my body a different way. . . . I wish I could go back. It's important for me to admit where I went wrong with this.' Lewis was born in Los Angeles in 1973. Her parents divorced when she was 2, and she and her sister, Lakshmi, moved with her mother to live with their grandmother in San Diego. In 1999, Lewis opened up to Teen People about her difficult relationship with her mother as a child and teenager. 'Mom was overwhelmed from the get-go, devastated by the divorce and working hard to support two kids,' she said. But Lewis felt neglected and 'built up a lot of resentment toward her.' 'By the time I was 10, I'd become a belligerent, rebellious kid, and my mother and I were fighting about everything,' she explained. She attended an arts high school and spent her time in school plays and volunteering. After graduating from Howard University in 1995, she landed a job as the host of BET's Teen Summit, which filmed in D.C. In one episode, she interviewed then First Lady Hillary Clinton. 'That experience got me noticed at MTV and in August of 1997, I moved to New York and started working there,' she told Teen People. Months earlier, in December 1996, she had reconciled with her mother after a period of estrangement. 'I decided to close the chapter on being hateful and resentful toward my mom and open a new one that focused on love, forgiveness and appreciation for her,' she explained. Lewis became one of MTV's most popular hosts. ''In the past, our talent was sometimes just pretty people who could read cue cards,'' Bob Kusbit, then MTV's senior vice president for production told The New York Times in 1999 about her talents. ''But when we brought Ananda to MTV, we decided we were going to do a lot more live television, and I was first and foremost interested in her ability to do live TV.'' Lewis interviewed celebrities including Destiny's Child, Brandy, NSYNC, Britney Spears and many more. She also ended up covering heavier topics for the network, including violence in schools and the 2001 death of Aaliyah, who was her close friend. In 2000, PEOPLE named Lewis one of the 50 Most Beautiful People in the World. She also made frequent appearances at celebrity events. Even Prince was a vocal fan; he told The New York Times, 'Ananda is Cleopatra. You know she's a queen.' Lewis left her MTV role in 2001 and began hosting her eponymous talk show. "I wanted a change," she told Teen People at the time. "It was a matter of proving to myself that I can do [this]." The series — which premiered Sept. 10, 2001 — lasted one season. Reflecting on the series to Shondaland, Lewis said, 'I wish I had stopped the people that wanted me to do the [talk] show and said, 'Not yet, it's a little too early to do this.' It was overkill for me.' She said she wasn't happy with the show, explaining, 'It wasn't what I felt like I signed up for.' Lewis took a break from television and later appeared as a host on The Insider, a spin-off of Entertainment Tonight. She also appeared on the reality series Celebrity Mole: Yucatán and hosted A&E's America's Top Dog and TLC's While You Were Out. Lewis also became a contractor and carpenter. MTV News shut down in 2023. Lewis reflected in a statement to PEOPLE at the time, "A pillar of creative and diverse speech is crumbling. MTV News covered things no one else could. We could get inside the trailer with DMX and Korn as they were taking historic concert stages. Artists trusted MTV News to tell their stories." She added: "Even though I was technically a VJ, I did many specials with MTV News and know firsthand what a huge loss this is for the culture of music and all who love it." In 2011, Lewis welcomed son Langston with Harry Smith, brother of Will Smith. Lewis is survived by her son. Read the original article on People

Two Paths for the Pop Star
Two Paths for the Pop Star

Yahoo

time8 hours ago

  • Yahoo

Two Paths for the Pop Star

The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. When Miley Cyrus previewed her new album, Something Beautiful, for people in her orbit, they gave her funny feedback: The music was too good. Or at least, they allegedly said, it was too good to be pop. Cyrus exasperatedly relayed this story to Apple Music's Zane Lowe last month. She then listed off 'pop' musicians who were definitely good: David Bowie, Madonna, Stevie Nicks. 'Pop really gets given a bad name of, like you know, manufactured label creations,' she said. 'And that's just not what it is. That's generic, and to be honest, it's lazy.' To which parts of the stan internet cheered: Preach! Put 'Wrecking Ball' in the Louvre! Cyrus's unnamed critics seemed to view pop, like a lot of people do, as a disposable commodity. But Cyrus was articulating the—to use an ever-contested term—poptimist viewpoint, which says that just because music functions as a product for the masses doesn't mean it can't also be excellent. Now that I've heard Something Beautiful, Cyrus's ninth album, I'm starting to reconsider—and sympathize with—the feedback she received. Her new music is, and I use quotation marks advisedly here, too 'good.' It's laden with signifiers of quality that undermine the very point of the genre she's working in: pleasure. The definition of good is subjective, but society generally agrees it involves a few attributes. 'Good' things result from effort and resources being deployed in ways that prize discernment over easy gratification. Think about a plate of subtly balanced pasta (which might be yummier with a shaving of parmesan cheese) or a designer handbag (visually indistinguishable from a knockoff). But that kind of good is hard to achieve, and people who aim for it often conflate sophistication with excess (forget parmesan; add truffles). Which is how Cyrus ended up with an album that's so lavishly produced, it numbs your ears. A 32-year-old former child actor who's been making hits since 2007, Cyrus has never needed much adornment to be entertaining. She has a voice that's raspy and ferocious like a lovable cartoon creature's, and a happy-go-lucky personality to match. No particular style defines her—her albums have made a point of flitting among genres including trap, country, and hard rock—nor has she ever been a songwriter of great depth. But she's repeatedly imbued formulaic fare with a sense of geysering, authentic humanity. Now she's aiming for prestige. Winning her first ever Grammys last year—for the hit 'Flowers'—sparked an epiphany: 'I never admitted to myself how much it hurt to not be recognized for my work,' she told The New York Times. Something Beautiful sounds like it resulted from a plan to win more recognition. It features contributions from many critically acclaimed indie musicians, such as Brittany Howard from Alabama Shakes and Adam Granduciel from the War on Drugs. It's been marketed as an opus in the vein of Pink Floyd's The Wall; it will, Cyrus has said, 'medicate somewhat of a sick culture through music.' [Read: The freakish powers of Miley Cyrus and Lana Del Rey] If this is medicine, it's certainly pungent. The album is piled high with pulsating orchestration (think Philip Glass more than Gustav Mahler), progressive-rock guitar noodling, and multitrack disco harmonies, all echoing with heavenly reverb. Much of this detail work is indeed something beautiful, like fine gold threading on a gown. Some of it is even outstanding, such as the layered gospel vocals of 'Reborn.' But again and again, the listener is left wondering why a song has become overtaken by a swarm of instruments buzzing and zipping like bees. The cumulative effect of so much sound is a sense of sheer heaviness. Cyrus and her collaborators are writing in the Diane Warren mode, as if to soundtrack one last makeout before asteroids pummel the Earth. Many of the melodies are sturdy, and you might find yourself verklempt at the epic heartache of 'More to Lose' and 'Golden Burning Sun.' But the singing—while impassioned and textured—isn't really interacting with the instrumentation in a dynamic way. And the music's ambitious veneer invites a kind of scrutiny that her lyrics can't sustain (one mangled metaphor: 'My tears are streamin' like our favorite show tonight'). The listener might be impressed, even awed, by Cyrus's effort—but deep down, they'll know there's something better they could be listening to. All I've wanted to do lately is listen to Addison Rae. This is a surprise for a few reasons. One is that Rae, 24, is a TikTok dancer who became famous six years ago for doing bodyrolls in sweatpants while smiling blankly at the camera. She then released a fun but generic EP that reused one old Lady Gaga demo and imitated the pop-punk-inflected sound of Millennial child actors turned singers: Selena Gomez, Demi Lovato, early Cyrus. This did not suggest anything very exciting about what kind of culture would result from short-form video becoming our primary star-making machine. But Rae's debut album, Addison, out this past Friday, isn't bland at all. In fact, I really didn't expect that the first great TikTok-to-pop album would evoke Aphex Twin and other electronic experimentalists such as Timbaland, Björk, and Portishead. The production's breakbeats, digital glitches, and creaking synthesizers summon an alien landscape for Rae, an avatar of popular-girl normalcy, to explore. The sound is on trend with Gen Z's '90s and Y2K nostalgia—pining for a time when technology seemed exciting rather than oppressive—and it calls back to Madonna's run of playful futurism from 1992's Erotica to 2005's Confessions on the Dance Floor. But it's pulled off in an ingenious way that conveys youthful possibility and delivers some really fresh bangers. Rae's prime collaborators are Elvira Anderfjärd and Luka Kloser, two relatively unknown women working in a field—pop production—that's largely dominated by men whose tricks are starting to become all too familiar. The duo trained under the super-producer Max Martin, whose notion of 'melodic math' insists that every note serves the purpose of catchiness. But Addison's melodies, while effective, don't quite deliver quite as much a sugar rush. The album's real appeal lies in harmony and rhythm: the interplay of melancholic organ lines, curiously lopsided bass grooves, vocals stacked in tangy intervals, and key changes that seem to reverse the flow of time. These songs aren't exactly avant garde, but they were clearly made with the understanding of how strangeness can invite replayability. As for Rae, she mostly retains the simple allure that defined her social-media stardom, mixing angelic breathiness with kitschy squeals and spoken word. Her best lyrics reframe clichés about being hot and having fun, like when she distills a night on the dance floor into four words: 'Kick drum, chew gum.' But generally, the more you notice what she's saying, the worse the music gets; a mention of her parents' divorce in 'Headphones' adds a hard surface to a song that's otherwise transcendently soupy. Thankfully, such stabs at profundity are rare. Rae seems happy to blend in, employing herself as an ingredient in a greater whole. Being an ingredient might seem like a bad thing, but it's refreshing these days. Pop stars are taken very seriously of late—in part because the internet gives their fans a loud platform to champion them, and in part because pop is, well, really getting more serious. Inspired by figures such as Beyoncé and Taylor Swift, Gen Z's emerging icons—Chappell Roan and Billie Eilish among them—position themselves as complex, uncompromising auteurs. When that approach works, it's as thrilling as can be. When it doesn't, you get the ponderousness of Cyrus's new album. Rae is throwing back to a time when pop didn't insist on its own importance quite so much, and in doing so, she's drawing attention to the craftsmanship that chasing a hit requires. Her mesmerizing music videos flaunt both her dancing abilities and her aesthetic tastes, the latter of which seem as finely developed as a fashion editor's. But the most important audiovisual accompaniments to this album are the clips she, Anderfjärd, and Kloser posted from their time in the studio. Messing around with keyboards and humming top lines, these three women seem to have developed a strong creative flow together. The only statement that this album is making is in execution: Good pop is good music. *Illustration by Akshita Chandra / The Atlantic. Sources: James Devaney / GC Images / Getty; Aeon / GC Images / Getty; XNY / Star Max / GC Images / Getty; Emma McIntyre / Getty; Jemal Countess / Getty; XNY / Star Max / GC Images / Getty; Kevin Winter / Getty; Bryan Bedder / Getty; Cristina Gaidau / Getty. Article originally published at The Atlantic

Glen Powell's Ex Recalls Being 'Blindsided' By A Breakup Involving A 'PR Scheme'
Glen Powell's Ex Recalls Being 'Blindsided' By A Breakup Involving A 'PR Scheme'

Yahoo

time9 hours ago

  • Yahoo

Glen Powell's Ex Recalls Being 'Blindsided' By A Breakup Involving A 'PR Scheme'

Gigi Paris appears to be reflecting on her past relationship with actor Glen Powell with the benefit of hindsight. The model appeared on Tuesday's episode of the 'Too Much' podcast and spoke at length about her recent split from what host Emma Klipstein refers to as a 'boyfriend of four years,' though Powell is not identified by name. According to Paris, she and her ex began dating in the early months of the COVID-19 pandemic, but found themselves at a crossroads when his career 'skyrocketed' once they began resuming their day-to-day life. 'I had no idea what I was getting myself into,' she explained. 'I am a family person. I like to be at home with my friends and my family, and I like things simple. But I was also really grateful to experience all that and go to such incredible places and see all the magic. But in seeing all of it, I also saw a lot of what it takes to kind of succeed in that world.' She went on to note: 'I felt like I was sacrificing a lot to show up and be there for that person, but I don't know if it was fully reciprocated in hindsight.' The breaking point, Paris said, came when her boyfriend chose to prioritize a 'PR scheme at the expense of our relationship.' 'I could either pretend like I was going along with everything and have everyone wonder, like: 'Are they hooking up? Are they not hooking up? Is she OK with this? What the fuck?'' she said. 'Or stand up for myself and say, 'No, I'm actually not OK with this, and I'm walking away.' So that's what I decided to do. It wasn't a way to monetize the breakup. It wasn't a way to twist the story around. I was shattered.' Though Paris notably refrained from identifying the people involved in this situation, she appeared to be describing the longstanding rumors of a romance between Powell and his 'Anyone but You' co-star Sydney Sweeney. Speaking to The New York Times last year, Powell acknowledged he and Sweeney ― who was engaged to producer Jonathan Davino at the time ― opted to 'lean into' their 'effortless chemistry' while promoting their film. To date, the two actors have not publicly confirmed a relationship. Nonetheless, Paris said she felt 'blindsided' by the experience. 'Don't make a fool out of someone you've been with for over three years, talking about forever with. Just have some decency, you know?' she said. 'And at the end of the day, it was like, 'Well, work comes first.' And if that's the case, power to you, that's your priority. I got to walk away.' Though Paris didn't clarify the status of her ex-boyfriend's relationship, she said she was hopeful that he and his co-star would 'end up together,' noting: 'I hope they are in love or whatnot.' 'I have heard so many different sides of the story. I have no confirmation of what actually happened,' she continued. 'I just know what my standards are. And for me, it just wasn't OK the way it was handled, period.' Though the exact timeline of their relationship remains unclear, Paris and Powell split in 2023 ― the same year 'Anyone but You' became a surprise hit at the box office. Speculation that Powell and Sweeney are dating began heating up again in April following news that Sweeney had called off her engagement to Davino. That same month, Powell confirmed Sweeney was a guest at his sister's Texas wedding, albeit not as his date. Listen to Gigi Paris's full interview on the 'Too Much' podcast here. Glen Powell Coyly Confirms Sydney Sweeney Attended His Sister's Wedding Sydney Sweeney Ends Engagement After Being Spotted With Glen Powell Sydney Sweeney And Glen Powell Dating Rumors Have Gone Wild — Here's A Breakdown

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store