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Time Out
6 days ago
- Entertainment
- Time Out
Smash star Brooks Ashmanskas on audiences, reviews and playing gay men
Brooks Ashmanskas has been doing his thing so well for so long that it's easy to take him for granted. In a Broadway career that has spanned nearly 30 years and included 16 shows, he has been one of the Great White Way's most valuable musical-comedy players, with a speciality in playing flamboyant gay men. Nobody does it better, and this past season found him lending his talents to two different productions: a revival of the fairy-tale musical Once Upon a Mattress, in which he played the scheming court wizard, and the new backstage tuner Smash, in which he stars as the stressed-out director of a struggling Marilyn Monroe biomusical called Bombshell. Smash has earned him a Tony nomination (his third) in the category of Best Featured Actor in a Musical, but his character, Nigel, is many ways the show's central role. That in itself is remarkable, especially on the heels of his leading performance in 2018's The Prom as Barry Glickman, a vain actor on a misguided mission to enlighten midwestern homophobes. The kind of person Ashmanskas has mastered playing—a gay man who is highly theatrical but not a drag queen—has long been relegated to the margins; it is a sign of changing times, but also of Ashmankas's prodigious skills, that this type can now be trusted to hold center stage. The actor deserves more credit for that than he has received (or than, ever self-effacing, he would probably accept): It is partly thanks to the strength and the brilliant colors that he brings to it, and has brought to it for decades, that the once-humble pansy has come to full flower on Broadway. We chatted with him recently about Smash and other highlights of his career. In advance of the Tony Awards on June 8, Time Out has conducted in-depth interviews with select nominees. We'll be rolling out those interviews every day this week; the full collection to date is here. How did you get involved in Smash? The writers contacted me, so it was simple; I just answered a phone call and said, 'Yeah, of course!' I had worked with Bob Martin before, and I had known Rick Elice for years, and I love both of them, so it was an easy yes. This was right when the pandemic was opening up a little bit, and they had written this musical version of Smash. There was no director yet—it was just to see what they had, basically, for the producers and people like that. It was maybe two days: We got together one day and then read it for them the next day. Basically, they handed it to me—which was foolish, I thought, but even more foolish was that they stayed with me over the years as we developed the project to where it is now. You match the role so perfectly, though. It feels like it was written for you. I think maybe it became that way. I really don't know if they were thinking that initially. But once I was doing it, you could tell—in the rewrites that would come, and the things that we would collaborate on—that they were very open throughout the process. Even when [director Susan] Stroman and the rest of the creative team joined in, they were all so great about it. They weren't very precious about anything; we just all wanted to make the best, most entertaining show possible. So if I came up with something in a rehearsal and it worked, we would keep it in. I've been thinking a lot lately about an underexplored phenomenon in musical theater: the degree to which the original cast can stamp itself in the DNA of a piece that's being developed—how the piece eventually gets frozen and the role ends up reflecting the strengths and style of whoever played it originally. I think it depends on the writers and the other people in charge. It's not even about them being too limiting; it's just how they're running the show. If they're really trying to honor what the writer's initial intentions were, and sticking to what they wrote as the Bible—and that's not necessarily a bad thing—it would be less so, other than just putting their words through your own filter. To some degree it's always going to be you as well. But with most of the things I've worked on, and certainly new work, it has been a relatively, if not wildly, collaborative effort. It has to be: It's such a collaborative medium. There are so many things that have to come together and hopefully it's on the same page. And you have a certain persona as an actor—in the roles you tend to play and the way that you tend to play them. When you have a strong personal style, maybe that has the potential to make a stronger stylistic impression on the piece. Yeah, but especially on Broadway, because there's so much money at stake, a lot of that depends on what you're allowed to do or what you're asked to do. Not that I'm like, 'Oh, I have a lot of range'—Who cares? Everyone does. But if I'm not doing a Broadway show, which I'm often not, I go work somewhere else, and if you look at the stuff I've done regionally, it's a much more rangy situation. I'm not always asked to be the silly and perhaps effeminate comic. But that's what I'm asked to do on Broadway, and why would anyone say no to doing a Broadway show? I've been very pleased and very fortunate to be able to do it. And to do it a lot! You did two musicals this year on Broadway, which is very rare. Insane. It never works out that way, but this time it did. It was just timing. It was great. Because after The Prom was the pandemic, and I wasn't lucky enough to be on Broadway for quite a while. Which is five years ago, almost six now. Which is crazy. In fairness, though, for a lot of that time Broadway wasn't happening at all. Right, exactly. It couldn't go on without me. [ Laughs.] The musical version of Smash is so different from the TV show—it's much closer to 42nd Street now, with Nigel as a gay Julian Marsh. Your character in The Prom, Barry, was another theater queen of a roughly similar type. To you, what distinguishes them from each other? That certainly crossed my mind even when we were first reading Smash —and one of the writers also wrote The Prom, so of course the similarities are there. But there's something about Nigel in Smash that's much darker than Barry was. Barry was just a big-hearted, loving guy who happened to be gay and funny, hopefully, but Nigel is a much more troubled character, and he is certainly troubled by what happens to him and his production throughout the piece. That's what I tried to glom onto: the put-upon-ness of the character in the situations he has found himself in, and how he goes about using the tools he has, which are usually his sense of humor. He also seems so much more competent than Barry. I think so, definitely. Dee Dee, Beth Leavel's character in The Prom, was a two-time Tony winner, and she carried Barry with her. And he had a Drama Desk that was kind of half broken. Even though he was a successful actor, he was not as successful. Whereas Nigel is Casey Nicholaw or Susan Stroman—he's someone who has worked a lot as a big-time director of Broadway musicals. And in The Prom, Barry creates his own mess, but Nigel is the only one working on Bombshell who has a real possibility of fixing it in some way. Exactly. And it turns out that he's right. He's saying, Let's make this bright and celebratory. We can't go too deep with this show. We can't go down the road of having her die at the end and all that dark stuff. Ironically, that's part of the challenge of making Smash into a musical at all, out of the existing material. The songs are great, but they're also partly tongue-in-cheek so it's hard to imagine the musical-within-a-musical that they come together to create. It's a delicate road. Like, are we to believe that this actress can do 18 numbers? But tone-wise, I think the way in which the songs are presented—only in rehearsal or in a performance situation, until the very end—keeps the show about the process. It's not really about Bombshell. It's about these people trying to put on a show. It's 42nd Street. It's The Bandwagon. One thing that's striking for me about your roles in both The Prom and Smash is that characters like them have been around for generations, but previously as decidedly supporting characters—the nellie, the nance. But in these two shows, they're the central characters. Yes! Very much so, and I think that's a good thing. I would even go further to say that—mostly because I'm the one who's played them—they're also not the leading man–looking type of person, either. I'm of a certain age, I have a certain type of physique. This is what I look like. And isn't that wonderful? [ Laughs.] But I think that's also something great about that. Some of the response I've gotten, during The Prom and even now this, from people my age or older who see a sort of representation—I never saw that coming. These older gay guys who are like, 'Oh my God, when I was growing up, if I had a Barry or a Nigel, to see that kind of representation and that kind of humor.' And I think that's a good thing. I do. Oh, I do too. These conversations so often get reduced to the question of whether characters are good role models or something, whether they're inspirational. And I think that's the wrong way to look at it. It's just that they're there, and they're human beings. The fact that they are not perfect is better. I agree, that's what representation is. And you see it reduced. There is not a conversation that does not get reduced now—everything is reduced to something without degrees, unfortunately I think. That's why I bring up how I look or how old I am as a leading character in a show. It's lovely in that it opens up degrees for viewing, conversation, response, whatever. Just the fact of it is significant. I think that's what I mean, too. The fact of it is good. Whether you hate it or love it, who cares? It's there. It's about the fact of it. You're giving one of my favorite performances of the year in this show. I'm also talking this week to Justina Machado, who's fantastic in Real Women Have Curves— And she's fabulous, too. Her fabulousness comes through. I love when that happens—it just all works. I'm bracketing these two performances together because they're a kind of masterful musical-comedy performance where everything is funny and the audience is so with you that you can take your time or go faster or whatever you want because you have full control of the room. Which is great. It's so important with comedy, because if you don't have control—if you're not conducting the orchestra of the audience—it's not going to work. They don't get to do it. And if they do, it's trouble. Again, I have to go to the writing: When you have a piece that's written in a way that makes you capable of orchestrating the room, it's a gift. It makes it more fun, and easier—even when it's hard, it's easier. It's a real gift, this kind of role. It doesn't come around often. How much does the audience response vary from performance to performance? I've been onstage a fair amount and that's still so mysterious to me. Yeah. If we knew how to figure that out, we'd follow that formula and there would be nothing but hits going on. I talk about it all the time, too much probably—backstage, even during the show. The short answer is that it's wildly different every show. You do a Wednesday, for instance, when probably it's a little older out there and a little quieter. And it's not that they're not enjoying it—they just don't want to let you know that. But then on Wednesday night, you're giving the same basic performance and they won't stop screaming with laughter. So I have to believe it is the molecular structure of the room. It can't just be them, and it can't just be me. It is just what is going on. And so there's no way to pre-prepare in a way, other than knowing what you're doing. And it's a surprise every moment. And you can't get too nervous or too in your head about what the response is, especially in comedy. That's something I admire so much in people who can be funny on stage, which is something that I usually can't do. People ask all the time, 'How do you do it eight times a week? How do you do a long run? Don't you want to put a gun in your mouth?' And of course, the answer is yes, sometimes. But the truth of it is, that's what keeps it interesting, or even keeps you awake during it. I can do it hundreds of times, but every single time I'm trying to figure it out: Like, I know that this line over here has to get a laugh. So if they're not where they need to be to get to that place, we gotta get 'em there! And that's what makes it interesting and athletic in a way, and tiring and tiresome, but also inspiring and fun. It's everything. And you're doing it within a quite regimented structure of existing writing and blocking. So you have limited tools. If you're doing a standup comedy, you can feel things out or chop things up as needed when you feel the energy moving. Yeah, it's limiting. But it also makes it all that more important to be open to having to do it a different way every single time. Which is hard and scary and vulnerable and all that stuff, but you have to be open to that or it's not gonna work. I just did an interview with Jessica Hecht — That bitch! [ Laughs.] I love Jessica so much. I've worked with her a number of times and it just brightens up my life every time I see her. She's a wildly unique individual. A totally free person on stage and in life, but she's also very careful. I mean that in a good way, not in a yucky way. She's full of care in what she's saying and what she's doing. I love it. Same! But anyhow, we went through some of her past Broadway experiences as I'd be curious to do that with you too, if you don't mind. Your first show was almost 30 years ago in the Matthew Broderick revival of How to Succeed, right? Yes, I replaced as Bud Frump. I didn't do it originally. But I felt a connection to it even when I was auditioning—and the director, Des McAnuff, really got what I did and supported it, which was lovely. That's not always the case, especially then, because nobody knew who I was to any degree. So that was very comforting. And Wayne Cilento, the choreographer—you'd never know it now, but when I was young, I was a dancer. Mostly tap, but I did a lot of dancing. And I think Wayne was surprised that this funny guy who was doing this role could do this dancing. I know he really pushed for me to get that part. It was hard, because it was quick. I was young and was a big part—the bad guy of that show in a way—and I only had five or six days to learn it, so it was scary. I can't even remember my opening night of that show. There was one section where I was all alone on stage in the lights, and I had an out-of-body experience—I didn't know what I was doing. But I did it. It was very exciting, and it was certainly a huge moment for me. Was Matthew still in it at that point? He had gone off to make a movie—I think it was The Cable Guy— so he had a break, and John Stamos replaced him. There was a week between John Stamos and Matthew coming back, and that's when I went in, at the same time as the woman who was going to play Rosemary, the female lead, who was a girl named Sarah Jessica Parker. This was before they got married. And so we had a week with the understudy, the wonderful John Bolton, and we rehearsed with Matthew a couple times during that week. And then we all did it together for the last six or seven months of the show. I would love to have seen the two of you do The Producers. I feel like that would've been an interesting mix. Wow, yeah. I love working with Matthew. I would drop everything to work with him. We've done a couple shows along the way, and I just adore him. I adore both of them. You did do The Producers eventually, but as Carmen Ghia. I did, and by that time, Matthew was out. It was years after it opened. I went in with Jonathan Freeman as Roger, who I also did How to Succeed with. Those were the only two times I replaced. I don't know if I'm always the best at that—I might be a little too individual sometimes, and that can be tricky, honestly, for people who have an existing show like The Producers, which was a huge smash. That machine was going. It's like Hamilton today: If you go into Hamilton, it's like, 'That bullet goes there,' you know? You have to fit in. I'm not sure I'm the best at that, but I did the best I could. There's a patch there— The Producers, Gypsy, Little Me —where you track seems to be a certain kind of snotty or ineffectual assistant. The second banana. As we were talking about earlier with Smash, that sort of put-upon quality is something I trained well for. Especially in Little Me, where every character I played, Martin Short was just screaming at me—'Rararararararararar'—and I'd just be like, 'Yes, father' or whatever. But then you got to do Martin Short: Fame Becomes Me. Yes. When we did Little Me, we became friendly very quickly, so Marty's show came about because of our relationship, and because we knew we worked well together. Marty's been a formidable person in my life—mostly as a friend, but he's also a parental, mentor-y kind of guy. He's very smart and wildly funny, obviously, and so sweet on stage, so generous. That really proved true on Fame Becomes Me. It was his show, but he let the rest of us who were in it shine. He needed that. He was very bright about that. And that show was a great, fun thing to do. And then came Bullets Over Broadway, which ended up a little bit of— —a miss. Not for everyone. My colleague David Cote, for example, liked it very much at the time. But it was hard to compete with a movie that was so memorable and successful. I agree. It had a lot going against it that maybe I didn't realize as we were going along. And I think people had a problem with the fact that there wasn't an original score. But I loved being a part of it. I loved that group of people and it was a great part. During the workshop and rehearsals and previews, it was like, 'This is a hit!' And then we opened and—bomb. You could tell by the audience response the day after we opened. It's the only time I've experienced that. I don't think that it was a bomb, but it closed very quickly. Sadly. I loved doing it—it was a really fun show to do. But it just didn't connect. I have a complex relationship to this issue, needless to say, but I know that negative reviews can sometimes take the wind out of a show's sails. For the audience, at least, if not for the performers. I'm a little weird about reviews. I really am able to take them with a grain of salt. Obviously, on a personal level, it's nice when someone says nice things and it's not so lovely when they loathe you. But you can't give—no offense—you can't give it that much power. When you see a show, that's your day, your opinion, your unique evening. These things can't be taken as the gospel, end-all truth. No offense taken! I totally agree. So I don't have a problem with reading reviews. It also depends on one's investment in the piece. The Prom is a great example. We worked on that for almost a decade before it barely got to Broadway, so I was curious—just as someone who spent so much time on it—how it was received. And I was very pleased overall that people liked it and got the heart of it. But it's mostly about curiosity, from my point of view. I get that. I read what people say about me on the rare occasions that people say things about me, and I often find that frustrating, because it always seems to get something wrong. I don't just mean I disagree, I mean it's factually wrong. Absolutely. Even a good review, Adam, is sometimes…I mean, if I'm gonna be fully honest, which I am, even some of the nice things that were said about me in this performance I'm giving now are not the nice things I want them to say. You know, it's lovely and it's terrific, but it's also, like, ' That's what it is to them?' That kind of feeling. One show that I really liked that you were in, and that I wish had had a longer run, is Shuffle Along. Yeah, me too. Just the best. The subject matter of the piece, how it was presented—I just thought it was gold. And the process couldn't have been more lovely. Everyone was so wonderful and I'd been fans or friends with all of them for years; I'm such a fan of George [C. Wolfe]'s work, and to be able to work with him on that was a highlight of my life. Not to mention being the sole white person in that show: The experience of that, of being the minority for a change, was invaluable. So yes, I'm sorry that it didn't run longer as well—deeply sorry, because that's one I would like to still be doing. But it was great, honestly, that it happened at all and that I was allowed to be a part of it. I'll take those couple of months. Sometimes there are just those heartbreakers. One of my first great disappointments as a critic—a show I really loved that didn't get the response it deserved—was another George C. Wolfe show, Caroline, or Change. Which to this day is one of my very favorite musicals. Absolutely. Me, too. So great. On a list of the great shows of your life, as an audience member, that would be one of, like, five shows. But the thing about Shuffle Along is that that was a once-in-a-lifetime staging. I can't imagine it being done in high schools or regional theaters. It would be way too expensive. It was that group of people—it could only be those people, and mostly George. So it closed on Broadway and that's it. And the thing that hurts even more about Shuffle Along not having a longer life is that it was all about trying to say, 'These people should be remembered, but nobody knows this show because they were Black.' And what the show was saying came true again, in a way. But on the bright side: Thousands of people did get to see it who wouldn't have seen it otherwise. Yes. It happened. It happened, and that's incredible. In a way, that any show can happen on Broadway is incredible. It's a victory.
Pink Villa
30-05-2025
- Entertainment
- Pink Villa
Days after Cannes 2025, why is Homebound trending? Cinematographer Pratik Shah's CONTROVERSY EXPLAINED
Janhvi Kapoor, Ishaan Khatter, and Vishal Jethwa starrer Homebound was screened at the prestigious 78th Cannes Film Festival earlier this month. Days after Neeraj Ghaywan 's directorial film achieved a significant milestone, the film is yet again making it to the headlines, but for all the wrong reasons. Actually, independent filmmaker Abhinav Singh has accused Homebound cinematographer Pratik Shah of 'being emotionally abusive and highly manipulative.' What is the controversy between Abhinav Singh and Pratik Shah? Recently, independent filmmaker Abhinav Singh posted a series of Instagram stories calling out a "predator" in the film industry. He noted that most of the time, women don't speak against them due to "generational, cultural, deeply ingrained training" to stay quiet, safe, and to survive. He revealed that his admission encouraged 20 more women to reach out to him, weighing in on similar experiences of troubling interactions. The filmmaker also expressed his disappointment over "woke" men maintaining a silence on the "uncomfortable practice." He noted that women pay a price when they speak out and urged men to use their "privilege" to listen, "ask difficult questions," and use their position to call out inappropriate behavior even when it's "inconvenient." "And do it not just for your mothers, daughters, or sisters but for your friends, your colleagues, your peers. Being a man is not about "being able to get it up." Being a man, being human - is about showing up," he wrote. In another story posted on his social media, he insisted on choosing "confrontation" over one becoming a "part of the problem." Take a look While he initially didn't reveal the name of the artist's name, he later revealed that it was none other than Pratik Shah. "The number of women who've reached out to me is honestly frightening. I feel like I'm having a Margot Robbie moment from Bombshell. I will not be silenced. And to those still employing him- f*ck you. His name is Pratik Shah. He's a cinematographer," he wrote in one of his stories. Take a look When the allegations caught the attention of the internet users, Pratik Shah, in response to this, seems to have deactivated his Instagram account. As of this writing, his handle displays a 'user not found" error, indicating that the account has either been deleted or disabled. Industry people come in support of Abhinav Singh On the other hand, the controversy seems to go a long way as several other filmmakers also jumped in to support Abhinav Singh's allegations. Filmmaker and writer Srishti Riya Jain shared discussions from Reddit where the internet users had previously called out Shah's behavior, describing him as someone who habitually slid into women's DMs and made them uncomfortable. Srishti expressed her strong reaction, stating, "To everyone pretending to act shocked, scandalized and suddenly awoken from their man who worked on one of the 'most empathetic' films of the year, as per their interviews at Cannes. Has been on the prowl since 4 years." She noted that the said post is one of the top searches on Google, but pointed out that the industry has a "selective attention span" and gaze when people are acclaimed. In addition to this, Smriti Kiran, the founder and director of Pola Dot Slight Box, also supported the allegations and hoped for the case to unfold. She also admitted to getting several messages from women with multiple people guessing the same name. Take a look Who is Pratik Shah? According to Pratik Shah's IMDb page, he is an American cinematographer from Dallas, Texas. He majored in Fine Art Photography at the Corcoran College of Art + Design in Washington, DC, in the BFA program, and then went on to pursue cinematography in the MFA program at UCLA in Los Angeles, CA. His notable works include CTRL, Jubilee, and the most recently critically acclaimed, Homebound. About Homebound Directed by Neeraj Ghaywan, Homebound is led by Ishaan Khatter, Janhvi Kapoor, and Vishal Jethwa. It also features Shalini Vatsa, Tushar Phulke, Harshika Parmar, and Pankaj Dubey in the key roles. It is produced by Karan Johar, Adar Poonawalla, Apoorva Mehta, and Somen Mishra, while Marijke deSouza and Melita Toscan Du Plantier are the co-producers. The film caught significant attention as it was screened at the prestigious Cannes Film Festival earlier this month. While it marked the debut of its lead star cast at the event, director Neeraj Ghaywan returned to Cannes for the second time after 10 years since his debut film, Massan's premiere, led by Vicky Kaushal. Plot of Homebound Homebound is a beautiful story between two young men who strive to become police officers in modern-day India. They hope to build better lives not only for themselves but also for their families. However, the story takes a poignant turn as it explores the struggle for survival and the enduring power of hope in a competitive and unjust world. Stay tuned to Pinkvilla for more updates.
Daily Mail
28-04-2025
- Entertainment
- Daily Mail
EXCLUSIVE Blake Lively and Megyn Kelly at war in epic red carpet showdown at TIME100 gala
Blake Lively sparked a furious response from Megyn Kelly at the TIME100 all-star gala on Thursday night in New York City, following the actress' controversial inclusion on the publication's Most Influential People list. The 37-year-old Another Simple Favor actress was joined by her husband Ryan Reynolds, 48, though he wasn't included on the elite list, amid the ongoing scandal of her rift with It Ends With Us co-star Justin Baldoni. Kelly, who was also included on the list, took offense to Blake being included. 'She shouldn't be here,' she told Daily Mail on the red carpet. Blake and Justin's legal feud remains red hot. She has accused him of sexually harassing her on the set of their movie, It Ends With Us, while he and his fans say she has twisted the truth to paint him as the villain. In the latest episode of the sordid saga, Lively is accused of colluding with his former publicist to leak his private text messages. Kelly told Daily Mail Lively has 'bastardized' the Me Too movement in her quest to nail Baldoni to the cross. 'It's a ridiculous joke. She shouldn't be here,' she said of Blake. 'I think [Blake has] launched a fake Me Too allegation against [Justin], and she's lived to regret doing it, because virtually every allegation she has made has fallen apart,' Megyn added. 'So for her to be honored for doing that, to try to ruin a man over absolutely nothing, is a scandal.' The subject is familiar turf for Megyn. She famously went up against former Fox News giant Roger Ailes before his death in 2017. Her experiences and those of other high-profile female anchors and reports at Fox were later dramatized in the 2019 film Bombshell, in which Charlize Theron played Megyn. She believes TIME only nominated Blake to generate publicity, and said it was 'very wrong' of the magazine to lend its legitimacy to the controversial star. She added some extra color to the look with Lorraine Schwartz Colombian emerald earrings, jade rings and emerald cuffs. She wore her long blond hair in thick waves that cascaded elegantly down her back Megyn also joked to that she wouldn't be making an effort to avoid Blake or Ryan, but she had a 'feeling she's going to be avoid me.' As for the rumors of a feud between Blake and her Another Simple Favor costar Anna Kendrick, the conservative host was less concerned. She added that even though Blake and Ryan have 'very powerful PR people and lawyers,' it's important to be 'clear-eyed' and to 'call out' claims when they aren't legitimate. 'Otherwise, no one who has actually experienced these things is going to be believed,' Megyn declared. The Megyn Kelly show host ended the interview weighing in on Blake's bestie Taylor Swift being dragged into her lawsuit drama. 'I mean, look, either Taylor Swift is her dragon or she isn't. I don't know. That's what Blake Lively says, so I guess I have to take her at her word, even though I really shouldn't,' she insisted, referring to Blake's text message comparing herself to Khaleesi, the dragon-controlling queen played by Emilia Clarke on Game of Thrones. 'If I were Taylor, I'd speak out about it. Obviously, she's reportedly distanced herself from Blake Lively.' Megyn then proceeded to give the thumbs up. While Blake was partying with the stars at the TIME100 Gala, Justin Baldoni's attorneys filed 14 new claims against his embattled former publicist Stephanie Jones. They accused Jones of violating the Computer Fraud and Abuse Act, breach of contract, defamation and fraud against former publicist Jennifer Abel. The filings accused Jones, Abel's former boss, of snooping on Abel's company mobile phone for her private messages up until January of this year, then allegedly plotting with Lively to create a subpoena for a 'sham lawsuit' that would cover up that the messages were leaked. She looked elegant in a flapper-inspired black dress with chevrons of black sequins, along with a sheer black section covering her chest and sleeves In a shocking turn, Abel's filing also accused Jones of making 'bizarre' claims of supposed information about Abel to her staff, which she acquired based on 'psychic readings.' 'In one instance, Jones announced to Abel's subordinates that she had learned through psychic readings that Abel was an alcoholic and a gambling addict,' while Abel contended the claims had 'no basis in reality' and instead raised concerns about whether 'Jones was in the midst of a mental breakdown.' In another incident, Jones allegedly said her psychic alerted her that Abel would become pregnant with twins, which humiliated and infuriated Abel, as she had told Jones she was dealing with fertility problems. Jones' lawyers blasted the new claims as 'just distraction and noise' and 'a few debunked conspiracy theories' in a scathing statement to on Thursday. Blake arrived at the gala in a shimmering red off-the-shoulder Zuhair Murad gown that highlighted her cleavage and featured a modest train trailing behind her. She added some extra color to the look with Lorraine Schwartz Colombian emerald earrings, jade rings and emerald cuffs. She wore her long blond hair in thick waves that cascaded elegantly down her back. Ryan favored classic men's style with a black tuxedo and bow tie. The Deadpool star posed for several photos together with his wife, but photographers at the event also wanted to snap some solo pictures of him. In one awkward moment, TIME CEO Jessica Sibley struggled to explain why Blake had been included on the TIME100 and bizarrely said the actress was having 'a great year' In one hilarious moment, photographers farther along the line begged him to move over to another backdrop by chanting his first name repeatedly and shouting that the other part of the backdrop was 'the Canada of the map,' a reference to his birth country, though he also gained American citizenship in 2018. Blake even got in on the fun and clapped along with the photographers to get her husband to play along. Joining the A-list couple on the red carpet was Blake's mother, Elaine Lively. She looked elegant in a flapper-inspired black dress with chevrons of black sequins, along with a sheer black section covering her chest and sleeves. In one awkward moment, TIME CEO Jessica Sibley struggled to explain why Blake had been included on the TIME100 list despite the controversy that has overwhelmed her and her film projects amid her ongoing legal battle with Justin Baldoni. 'I think she's having a great year,' she said bizarrely. She said the magazine's goal was to be 'the humanities guide to trust in journalism,' adding that the magazine was 'excited to tell her story.' Blake was one of the speakers inside the gala, and in her brief speech she appeared to allude to her accusations against Baldoni and their bitter legal back-and-forth. She took a dramatic turn while paying tribute to her mother Elaine, who she said was a 'survivor of the worst crime someone can commit against a woman.' Blake said her mother found the strength to go on living after hearing a woman who faced similar circumstances on the radio She gushed that it was 'surreal and deeply significant' for her to be honored 'in a time where the most valuable currency seems to be anger, it feels like an act of defiance to commune and celebrate all the good that is alive in the world,' according to People. Blake added that it was a 'significant responsibility' to have the power of influence over others. She reportedly reminded her fellow attendees that 'How we use that matters. 'Who and what we stand up for, and what we stay silent about, what we monetize versus what we actually live, matters,' she said. 'I have so much to say about the last two years of my life,' she said, seemingly alluding to her troubles with her costar, before declaring that the gala was 'not the forum' for those thoughts. Instead, she chose to speak about 'the feeling of being a woman who has a voice today.' She paid a special tribute to her mother Elaine, who she said was a 'survivor of the worst crime someone can commit against a woman.' 'My mom never got justice from her work acquaintance who attempted to take her life when she was the mother of three young kids years before I was born,' Blake continued. The Avengers: Endgame star wore a rigid gold necklace with a small chain dangling down, and her dress featured a gold bar securing its ruched midriff. She added a splash of color with her scarlet nail polish Comedian and in-demand awards-show host Nikki Glaser contrasted the somber all-black ensembles with a beige off-the-shoulder dress with a striking black belt tied just below her bust. She accessorized with a small black clutch and wore pointed black heels She said it was only when her mother heard a woman speaking on the radio who had gone through a similarly abusive situation that she regained the strength to move on with her life. 'Because of hearing that woman speak about her experience instead of shutting down in fear and unfair shame, my mom is alive today,' Blake declared. 'She was saved by a woman whose name she'll never know.' She ended her speech with thanks to all men 'who are kind and good when no one is watching,' which she said included her 'sweet husband,' Ryan. Among the stunning A-listers at the event was Scarlett Johansson, who put on a busty display in a sleek black sleeveless halter dress that emphasized her hourglass figure. The Avengers: Endgame star wore a rigid gold necklace with a small chain dangling down, and her dress featured a gold bar securing its ruched midriff. Scarlett — who didn't appear to be joined by her husband, SNL writer and Weekend Update host Colin Jost — added a splash of color with her scarlet nail polish. She was attending the gala amid concerns that her major new career move could be overshadowed by Blake Lively and Ryan Reynolds' ongoing drama, as Ryan is her ex-husband. Demi Moore, 62, looked as glamorous as ever when she hit the red carpet. The Substance star arrived in a shimmering cream-colored satin dress with a matching sport coat draped over her shoulders. She and Ed Sheeran were on the same page when it came to lightening up the event with their outfits. He opted for a striking pale pink suit that he dressed down with a white T-shirt The Oscar nominee's bodice was covered in delicate ruching, and her long, rippling skirt reached down to the ground. She wore her raven locks parted down the middle, and she added some sparkle with long, dangling diamond earrings. Comedian and in-demand awards-show host Nikki Glaser contrasted the somber all-black ensembles with a beige off-the-shoulder dress with a striking black belt tied just below her bust. She accessorized with a small black clutch and wore pointed black heels. She and Ed Sheeran were on the same page when it came to lightening up the event with their outfits. He opted for a striking pale pink suit that he playfully dressed down with a white T-shirt. The pop star complemented his suit with white Nike's featuring pink Swoosh logos. Nicole Scherzinger set temperatures soaring in a low-cut black sequined gown with satin strips showcasing her cleavage. Severance star Adam Scott opted for classic elegance with a well-tailored double-breasted black tuxedo that he wore open. He complemented the jacket's wide, peaked lapels by wearing a particularly large black satin bow tie. Adrien Brody contrasted Adam's look with a more modern double-breasted suit with particularly skinny lapels and a single button in the shape of a pink flower The two-time Oscar winner and star of The Brutalist was joined by his partner Georgina Chapman The ex-wife of Harvey Weinstein shimmered in a white satin dress with contrasting ruffled black sleeves and a black cape trailing behind her Serena Williams wore an unusual black off-the-shoulder dress that looked as if it had been shredded. It had slim horizontal cutouts over her midriff and legs, and she paired it with rumpled sheer black gloves and pointy black heels strapped around her ankles Gayle King cut an elegant figure in a sparkling key lime green dress with a plunging neckline. She accessorized with a shimmer silver clutch Padma Lakshmi stood out in a long, shimmering silver dress. The raven-haired beauty carried a chunky charcoal clutch and wore light open-toe heels Joining the Parks And Recreation star was his wife Naomi Scott, who wore a similarly tasteful low-cut black dress with a rippling skirt. Adrien Brody contrasted Adam's look with a more modern double-breasted suit with particularly skinny lapels and a single button in the shape of a pink flower. The two-time Oscar winner and star of The Brutalist was joined by his partner Georgina Chapman. The ex-wife of Harvey Weinstein shimmered in a white satin dress with contrasting ruffled black sleeves and a black cape trailing behind her. Serena Williams wore an unusual black off-the-shoulder dress that looked as if it had been shredded. It featured slim horizontal cutouts over her midriff and legs, and she paired it with rumpled sheer black gloves and pointy black heels strapped around her ankles Gayle King cut an elegant figure in a sparkling key lime green dress with a plunging neckline. She accessorized with a shimmer silver clutch. Padma Lakshmi stood out in a long, shimmering silver dress. The raven-haired beauty carried a chunky charcoal clutch and wore light open-toe heels. The retired Olympic gymnast Aly Raisman flaunted her fit figure in a red halter-style gown. The gold medalist and anti-sexual abuse activist wore a single-shoulder sleeveless design with matching red open-toe heels Her fellow gold medallist Simone Biles put on a leggy display in a sheer beige bustier-like minidress Another journalist, CNN anchor Abby Phillip was a vision in a white dress. She accessorized the long-sleeve look with a slim silver clutch The retired Olympic gymnast Aly Raisman flaunted her fit figure in a red halter-style gown. The gold medalist and anti-sexual abuse activist wore a single-shoulder sleeveless design with matching red open-toe heels. The longtime ABC News journalists David Muir and Diane Sawyer posed together on the red carpet. David wore a black tux with a full chest and a pleated shirt, while Diane rocked a cream-colored suit with gold bars clipped onto her lapels. Another journalist, CNN anchor Abby Phillip was a vision in a white dress. She accessorized the long-sleeve look with a slim silver clutch. Diego Luna, the star of the acclaimed Star Wars series Andor, wore an intriguing black double-breasted with an unusually small patch of shirt showing. He paired it with a black shirt and stuck to the standard bow tie. Dax Shepard and The Good Place star Kristen Bell both beamed ear to ear. The podcast star wore a tight black tux with a casual dotted necktie, while his wife Kristen sizzled in a red off-the-shoulder dress. Diego Luna, the star of the acclaimed Star Wars series Andor, wore an intriguing black double-breasted with an unusually small patch of shirt showing. He paired it with a black shirt and stuck to the standard bow tie Dax Shepard and The Good Place star Kristen Bell both beamed ear to ear. The podcast star wore a tight black tux with a casual dotted necktie, while his wife Kristen sizzled in a red off-the-shoulder dress The longtime ABC News journalists David Muir and Diane Sawyer posed together on the red carpet. David wore a black tux with a full chest and a pleated shirt, while Diane rocked a cream-colored suit with gold bars clipped onto her lapels The singer Hozier looked classy in a double-breasted black tuxedo with a slim bow tie Snoop Dogg and his son Cordell Broadus both favored black ensembles. Snoop wore a textured suit with gold buttons running up his lapels, and he spiced it up with green-and-black wingtip derbies. Cordell rocked a casual black tracksuit with sneakers Shōgun star Hiroyuki Sanada favored classic elegance in a black tux Wicked director Jon M. Chu changed up things with a dark purple tux, a black bow tie and a prominent gold luxury wristwatch She was picture hobnobbing with several other A-listers, including a beaming Demi Moore The actresses were also joined by Blake's mother Elaine (L) and the fashion designer Georgina Chapman, who is in a relationship with Oscar winner Adrien Brody Blake's husband Ryan Reynolds was caught up in a giggling fit at something Aly Raisman said to him After unleashing her fury at Blake, Megyn managed to cut an elegant figure by the stairs with her husband Douglas Brunt Shōgun's Hiroyuki Sanada (R), caught up with film and sports stars, including (L–R) Demi, Aly, Simone Biles and Scarlett Johansson Scarlett seemed to have a great time as she caught up with Serena Williams The singer Hozier looked classy in a double-breasted black tuxedo with a slim bow tie. Snoop Dogg and his son Cordell Broadus both favored black ensembles. Snoop wore a textured suit with gold buttons running up his lapels, and he spiced it up with green-and-black wingtip derbies. Cordell rocked a casual black tracksuit with sneakers. Shōgun star Hiroyuki Sanada favored classic elegance in a black tux, while Wicked director Jon M. Chu changed up things with a dark purple tux, a black bow tie and a prominent gold luxury wristwatch.
Daily Mail
25-04-2025
- Entertainment
- Daily Mail
Megyn Kelly lays into Blake Lively on red carpet of TIME100 gala and calls her inclusion ‘a ridiculous joke'
Blake Lively sparked a furious response from Megyn Kelly at the TIME100 all-star gala on Thursday night in New York City, following the actress's controversial inclusion on the publication's Most Influential People list. The actress, 37, was joined by her husband Ryan Reynolds, 48, at the event, although he wasn't included on the elite list. But Megyn, 54, blasted Blake and her ongoing lawsuit against Justin Baldoni in an impassioned rant while speaking to on the red carpet. According to Megyn, Blake, who left readers outraged over her TIME100 cover, 'shouldn't be here.' It came amid a new lawsuit filing in Blake and Justin's legal battle in which his production company and his publicist for his film It Ends With Us, Jennifer Abel, accused his embattled former publicist, Stephanie Jones, of allegedly plotting with Blake to cover up efforts to leak Abel's sensitive text messages to the actress. At the TIME100 gala, Megyn ramped up her attack against the Gossip Girl star, accusing her of 'bastardized Me Too allegations' in her quest to sue her It Ends With Us director and costar Justin for sexual harassment, which he has denied. Baldoni later followed up by launching a $400 million defamation lawsuit against Lively, her publicist and her husband Ryan — which all have denied as well — and he also filed a $250 million libel lawsuit against the New York Times for its reporting on her allegations. 'It's a ridiculous joke. She shouldn't be here,' she said of Blake. 'I think [Blake has] launched a fake Me Too allegation against [Justin], and she's lived to regret doing it, because virtually every allegation she has made has fallen apart,' Megyn added. 'So for her to be honored for doing that, to try to ruin a man over absolutely nothing, is a scandal.' The subject is familiar turf for Megyn, as she reportedly told investigators that she had been sexually harassed by her former Fox News boss Roger Ailes. Her experiences and those of other high-profile female anchors and reports at Fox were later dramatized in the 2019 film Bombshell, in which Charlize Theron played Megyn with the aid of extensive facial prosthetics. The Megyn Kelly show host, who showcased her svelte figure in a red sleeveless dress, joked that she hoped to get a selfie with Blake and Meghan Markle 'in the distance' because they had provided her with 'so many hours of content.' She said TIME was just trying to generate publicity for the magazine by putting 'big stars' on the cover, but it was 'very wrong' to lend its legitimacy to the controversial star. Megyn joked to that she wouldn't be making an effort to avoid Blake or Ryan, but she had a 'feeling she's going to be avoid me.' As for the rumors of a feud between Blake and her Another Simple Favor costar Anna Kendrick, the conservative host was less concerned, as it was Blake's alleged attempts to 'bastardize Me Too allegations against people who don't deserve it' that got her blood boiling. According to the lawyer, thoroughly investigating the Gossip Girl star's claims was necessary to prevent other future accusers from being tarnished. She added that even though Blake and Ryan have 'very powerful PR people and lawyers,' it's important to be 'clear-eyed' and to 'call out' claims when they aren't legitimate. 'Otherwise, no one who has actually experienced these things is going to be believed,' Megyn declared. While Blake was partying with the stars at the TIME100 Gala, Justin Baldoni's legal battle with her took on a new twist as attorneys for his production company Wayfarer and his It Ends With Us publicist Jennifer Abel filed 14 new claims against his embattled former publicist Stephanie Jones. They accused Jones of violating the Computer Fraud and Abuse Act, breach of contract, defamation and fraud against Abel. The filings accused Jones, Abel's former boss, of snooping on Abel's company mobile phone for her private messages up until January of this year, then allegedly plotting with Lively to create a subpoena for a 'sham lawsuit' that would cover up that the messages were leaked. In a shocking turn, Abel's filing also accused Jones of making 'bizarre' claims of supposed information about Abel to her staff, which she acquired based on 'psychic readings.' 'In one instance, Jones announced to Abel's subordinates that she had learned through psychic readings that Abel was an alcoholic and a gambling addict,' while Abel contended the claims had 'no basis in reality' and instead raised concerns about whether 'Jones was in the midst of a mental breakdown.' In another incident, Jones allegedly said her psychic alerted her that Abel would become pregnant with twins, which humiliated and infuriated Abel, as she had told Jones she was dealing with fertility problems. Jones' lawyers blasted the new claims as 'just distraction and noise' and 'a few debunked conspiracy theories' in a scathing statement to on Thursday. Blake arrived at the gala in a shimmering red off-the-shoulder gown that highlighted her cleavage and featured a modest train trailing behind her. She added some extra color to the look with multiple rings and bracelets decorated with jade, and she wore her long blond hair in thick waves that cascaded elegantly down her back. Ryan favored classic men's style with a black tuxedo and bow tie. The Deadpool star posed for several photos together with his wife, but photographers at the event also wanted to snap some solo pictures of him. Awkward: TIME CEO Jessica Sibley struggled to explain why Blake had been included on the TIME100 and bizarrely said the actress was having 'a great year' In one hilarious moment, photographers farther along the line begged him to move over to another backdrop by chanting his first name repeatedly and shouting that the other part of the backdrop was 'the Canada of the map,' a reference to his birth country, though he also gained American citizenship in 2018. Blake even got in on the fun and clapped along with the photographers to get her husband to play along. Joining the A-list couple on the red carpet was Blake's mother, Elaine Lively. She looked elegant in a flapper-inspired black dress with chevrons of black sequins, along with a sheer black section covering her chest and sleeves. In one awkward moment, TIME CEO Jessica Sibley struggled to explain why Blake had been included on the TIME100 list despite the controversy that has overwhelmed her and her film projects amid her ongoing legal battle with Justin Baldoni. 'I think she's having a great year,' she said bizarrely. She said the magazine's goal was to be 'the humanities guide to trust in journalism,' adding that the magazine was 'excited to tell her story.' Blake was one of the speakers inside the gala, and in her brief speech she appeared to allude to her accusations against Baldoni and their bitter legal back-and-forth. She gushed that it was 'surreal and deeply significant' for her to be honored 'in a time where the most valuable currency seems to be anger, it feels like an act of defiance to commune and celebrate all the good that is alive in the world,' according to People. Blake added that it was a 'significant responsibility' to have the power of influence over others. She reportedly reminded her fellow attendees that 'How we use that matters. 'Who and what we stand up for, and what we stay silent about, what we monetize versus what we actually live, matters,' she said. 'I have so much to say about the last two years of my life,' she said, seemingly alluding to her troubles with her costar, before declaring that the gala was 'not the forum' for those thoughts. Instead, she chose to speak about 'the feeling of being a woman who has a voice today.' She paid a special tribute to her mother Elaine, who she said was a 'survivor of the worst crime someone can commit against a woman.' 'My mom never got justice from her work acquaintance who attempted to take her life when she was the mother of three young kids years before I was born,' Blake continued. She said it was only when her mother heard a woman speaking on the radio who had gone through a similarly abusive situation that she regained the strength to move on with her life. 'Because of hearing that woman speak about her experience instead of shutting down in fear and unfair shame, my mom is alive today,' Blake declared. 'She was saved by a woman whose name she'll never know.' She ended her speech with thanks to all men 'who are kind and good when no one is watching,' which she said included her 'sweet husband,' Ryan. Among the stunning A-listers at the event was Scarlett Johansson, who put on a busty display in a sleek black sleeveless halter dress that emphasized her hourglass figure. The Avengers: Endgame star wore a rigid gold necklace with a small chain dangling down, and her dress featured a gold bar securing its ruched midriff. Scarlett — who didn't appear to be joined by her husband, SNL writer and Weekend Update host Colin Jost — added a splash of color with her scarlet nail polish. She was attending the gala amid concerns that her major new career move could be overshadowed by Blake Lively and Ryan Reynolds' ongoing drama, as Ryan is her ex-husband. Demi Moore, 62, looked as glamorous as ever when she hit the red carpet. The Substance star arrived in a shimmering cream-colored satin dress with a matching sport coat draped over her shoulders. Matching: She and Ed Sheeran were on the same page when it came to lightening up the event with their outfits. He opted for a striking pale pink suit that he dressed down with a white T-shirt The Oscar nominee's bodice was covered in delicate ruching, and her long, rippling skirt reached down to the ground. She wore her raven locks parted down the middle, and she added some sparkle with long, dangling diamond earrings. Comedian and in-demand awards-show host Nikki Glaser contrasted the somber all-black ensembles with a beige off-the-shoulder dress with a striking black belt tied just below her bust. She accessorized with a small black clutch and wore pointed black heels. She and Ed Sheeran were on the same page when it came to lightening up the event with their outfits. He opted for a striking pale pink suit that he playfully dressed down with a white T-shirt. The pop star complemented his suit with white Nike's featuring pink Swoosh logos. Nicole Scherzinger set temperatures soaring in a low-cut black sequined gown with satin strips showcasing her cleavage. Severance star Adam Scott opted for classic elegance with a well-tailored double-breasted black tuxedo that he wore open. He complemented the jacket's wide, peaked lapels by wearing a particularly large black satin bow tie. Happy: Adrien Brody contrasted Adam's look with a more modern double-breasted suit with particularly skinny lapels and a single button in the shape of a pink flower Legend: Serena Williams wore an unusual black off-the-shoulder dress that looked as if it had been shredded Stars: Gayle King cut an elegant figure in a sparkling key lime green dress with a plunging neckline. She accessorized with a shimmer silver clutch Shimmering: Padma Lakshmi stood out in a long, shimmering silver dress. The raven-haired beauty carried a chunky charcoal clutch and wore light open-toe heels Joining the Parks And Recreation star was his wife Naomi Scott, who wore a similarly tasteful low-cut black dress with a rippling skirt. Adrien Brody contrasted Adam's look with a more modern double-breasted suit with particularly skinny lapels and a single button in the shape of a pink flower. The two-time Oscar winner and star of The Brutalist was joined by his partner Georgina Chapman. The ex-wife of Harvey Weinstein shimmered in a white satin dress with contrasting ruffled black sleeves and a black cape trailing behind her. Serena Williams wore an unusual black off-the-shoulder dress that looked as if it had been shredded. It featured slim horizontal cutouts over her midriff and legs, and she paired it with rumpled sheer black gloves and pointy black heels strapped around her ankles Gayle King cut an elegant figure in a sparkling key lime green dress with a plunging neckline. She accessorized with a shimmer silver clutch. Padma Lakshmi stood out in a long, shimmering silver dress. The raven-haired beauty carried a chunky charcoal clutch and wore light open-toe heels. Glam: The retired Olympic gymnast Aly Raisman flaunted her fit figure in a red halter-style gown Shining: Her fellow gold medallist Simone Biles put on a leggy display in a sheer beige bustier-like minidress Journalist: CNN anchor Abby Phillip was a vision in a white dress. She accessorized the long-sleeve look with a slim silver clutch The retired Olympic gymnast Aly Raisman flaunted her fit figure in a red halter-style gown. The gold medalist and anti-sexual abuse activist wore a single-shoulder sleeveless design with matching red open-toe heels. The longtime ABC News journalists David Muir and Diane Sawyer posed together on the red carpet. David wore a black tux with a full chest and a pleated shirt, while Diane rocked a cream-colored suit with gold bars clipped onto her lapels. Another journalist, CNN anchor Abby Phillip was a vision in a white dress. She accessorized the long-sleeve look with a slim silver clutch. Diego Luna, the star of the acclaimed Star Wars series Andor, wore an intriguing black double-breasted with an unusually small patch of shirt showing. He paired it with a black shirt and stuck to the standard bow tie. Dax Shepard and The Good Place star Kristen Bell both beamed ear to ear. The podcast star wore a tight black tux with a casual dotted necktie, while his wife Kristen sizzled in a red off-the-shoulder dress. Stars: Diego Luna, the star of the acclaimed Star Wars series Andor, wore an intriguing black double-breasted with an unusually small patch of shirt showing. He paired it with a black shirt and stuck to the standard bow tie Stars: Dax Shepard and The Good Place star Kristen Bell both beamed ear to ear. The podcast star wore a tight black tux with a casual dotted necktie, while his wife Kristen sizzled in a red off-the-shoulder dress Pair: The longtime ABC News journalists David Muir and Diane Sawyer posed together on the red carpet Sharp: The singer Hozier looked classy in a double-breasted black tuxedo with a slim bow tie Stars: Snoop Dogg and his son Cordell Broadus both favored black ensembles. Snoop wore a textured suit with gold buttons running up his lapels, and he spiced it up with green-and-black wingtip derbies. Cordell rocked a casual black tracksuit with sneakers Star: Wicked director Jon M. Chu changed up things with a dark purple tux, a black bow tie and a prominent gold luxury wristwatch Blake: She was picture hobnobbing with several other A-listers, including a beaming Demi Moore Line up: The actresses were also joined by Blake's mother Elaine (L) and the fashion designer Georgina Chapman, who is in a relationship with Oscar winner Adrien Brody Laugh: Blake's husband Ryan Reynolds was caught up in a giggling fit at something Aly Raisman said to him Aftermath: After unleashing her fury at Blake, Megyn managed to cut an elegant figure by the stairs with her husband Douglas Brunt Happy: Scarlett seemed to have a great time as she caught up with Serena Williams The singer Hozier looked classy in a double-breasted black tuxedo with a slim bow tie. Snoop Dogg and his son Cordell Broadus both favored black ensembles. Snoop wore a textured suit with gold buttons running up his lapels, and he spiced it up with green-and-black wingtip derbies. Cordell rocked a casual black tracksuit with sneakers.
Daily Mail
25-04-2025
- Entertainment
- Daily Mail
Blake Lively is supported by Demi Moore and Georgina Chapman after fans turned against her
and Georgina Chapman publicly showed their support for Blake Lively amid her lawsuit with Justin Baldoni. The Gossip Girl star, 37, was named one of TIME magazine's 100 most influential people and looked in good spirits at the gala despite fans claiming it was 'embarrassing' that she had been included. At the event, she caught up with Demi, 62, and Georgina, 49, with the trio posing for snaps alongside Lively's mother Robyn. Since Blake's court filing she has been bombarded with hateful messages on her social media. She has accused her It Ends With Us co-star Justin of orchestrating a smear campaign against her with a PR representative who boasted 'we can bury anyone'. One person who has turned against Blake was Megyn Kelly, who hit out at the actress following her controversial inclusion on the publication's Most Influential People list. The 54-year-old conservative journalist blasted Blake and her ongoing lawsuit against Justin in an impassioned rant while speaking to on the red carpet. According to Megyn, Blake — who left readers outraged over her TIME100 cover — 'shouldn't be here.' The red carpet feud erupted amid a new lawsuit filing in Blake and Justin's legal battle in which his production company and his publicist for his film It Ends With Us, Jennifer Abel, accused his embattled former publicist, Stephanie Jones, of allegedly plotting with Blake to cover up efforts to leak Abel's sensitive text messages to the actress. At the TIME100 gala, Megyn ramped up her attack against the Gossip Girl star, accusing her of 'bastardiz[ing] Me Too allegations' in her quest to sue her It Ends With Us director and costar Justin for sexual harassment, which he has denied. Justin later followed up by launching a $400 million defamation lawsuit against Blake, her publicist and her husband Ryan — which all have denied as well — and he also filed a $250 million libel lawsuit against the New York Times for its reporting on her allegations. 'It's a ridiculous joke. She shouldn't be here,' she said of Blake. 'I think [Blake has] launched a fake Me Too allegation against [Justin], and she's lived to regret doing it, because virtually every allegation she has made has fallen apart,' Megyn added. 'So for her to be honored for doing that, to try to ruin a man over absolutely nothing, is a scandal.' Blake has accused her It Ends With Us co-star Justin of orchestrating a smear campaign against her with a PR representative who boasted 'we can bury anyone' The subject is familiar turf for Megyn, as she reportedly told investigators that she had been sexually harassed by her former Fox News boss Roger Ailes. Her experiences and those of other high-profile female anchors and reports at Fox were later dramatized in the 2019 film Bombshell, in which Charlize Theron played Megyn with the aid of extensive facial prosthetics. The Megyn Kelly show host, who showcased her svelte figure in a red sleeveless dress, joked that she hoped to get a selfie with Blake and Meghan Markle 'in the distance' because they had provided her with 'so many hours of content.' She said TIME was just trying to generate publicity for the magazine by putting 'big stars' on the cover, but it was 'very wrong' to lend its legitimacy to the controversial star. Megyn joked to that she wouldn't be making an effort to avoid Blake or Ryan, but she had a 'feeling she's going to be avoid me.' As for the rumors of a feud between Blake and her Another Simple Favor costar Anna Kendrick, the conservative host was less concerned, as it was Blake's alleged attempts to 'bastardize Me Too allegations against people who don't deserve it' that got her blood boiling. According to the lawyer, thoroughly investigating the Gossip Girl star's claims was necessary to prevent other future accusers from being tarnished. She added that even though Blake and Ryan have 'very powerful PR people and lawyers,' it's important to be 'clear-eyed' and to 'call out' claims when they aren't legitimate. 'Otherwise, no one who has actually experienced these things is going to be believed,' Megyn declared. While Blake was partying with the stars at the TIME100 Gala, Justin's legal battle with her took on a new twist as attorneys for his production company Wayfarer and his It Ends With Us publicist Jennifer Abel filed 14 new claims against his embattled former publicist Stephanie Jones. They accused Jones of violating the Computer Fraud and Abuse Act, breach of contract, defamation and fraud against Abel. The filings accused Jones, Abel's former boss, of snooping on Abel's company mobile phone for her private messages up until January of this year, then allegedly plotting with Lively to create a subpoena for a 'sham lawsuit' that would cover up that the messages were leaked.
