LES TWO DRAGONS PHASE aka PRE-PRODUCTION

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Blake Lively begins asserting herself in subtle ways, testing the waters and establishing a rapport with Justin Baldoni, lead actor, the director of the movie and co-owner of Wayfarer Studios. Her intention becomes clear early on: she wants a hand in decision-making, which will set the stage for her later power plays. When she joined the project, Lively had requested a producer title, but Wayfarer offered only a nominal executive producer title.

 

Right away, Lively starts exceeding her contractual scope, exceeding the budget for wardrobe by $615K, already spent in the early stages. By February 14, 2023, Baldoni begins sharing script revisions with Lively, as they continue building their relationship. However, by April 14, 2023, when Lively’s script notes aren’t as warmly received as expected, she subtly asserts her influence, referring to herself as "Khaleesi" and hinting at the power she holds, thanks to her dragons Ryan Reynolds and Taylor Swift. By April 20, 2023, the crew expresses concern about Lively’s growing influence over the film, foreshadowing her potential involvement in co-directing. On April 25, 2023, Lively escalates, summoning Baldoni to her penthouse, where Reynolds confronts him aggressively, threatening that if Baldoni couldn't work with Lively's demands, he would need tp replace her in the next two weeks. With millions already invested, the situation becomes increasingly tense. By May 1, 2023, producers are alarmed by Lively's script changes, and even Wayfarer's president, Jamey Heath, is unsure how to proceed.

 

This phase marks the beginning of Lively's gradual, yet clear, takeover of the production, with her leveraging her power behind the scenes.

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THE WHINY BLAKE PHASE aka PRODUCTION PHASE ONE

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From mid-May through June 2023, Blake Lively's behavior becomes increasingly disruptive as she seeks to exert more influence over key production decisions, often beyond her contractual role. Her demands, often unreasonable, include filing unfounded and unofficial complaints about the director and crew when her creative input is not considered, requesting unauthorized access to materials such as dailies and assembly cuts, and causing production delays. These actions create tension and burden the studio both mentally and financially. On May 16, 2023, Lively’s manipulation begins with conversation with Baldoni about her wardrobe (a concern brought forth by Sony) and escalates when she requests a producer meeting, accusing Baldoni of making eye contact at an inappropriate time. By May 29, 2023, Lively calls a Sony executive to express her grievances about Baldoni’s comments on her wardrobe, Heath’s post-home birth video, and the 1st AD, whom she suggested should be replaced. As Lively’s “creative input” is increasingly rejected, she changes tactics, becoming more aggressive. On June 3, 2023, Lively’s demands result in the firing of the 1st AD, despite Baldoni and Heath's reluctance. On June 13, 2023, Lively demands access to the dailies, but is only given a promise to be sent curated playlist after. When production is halted for one day due to the WGA strikes, and Lively refuses to return to set after Wayfarer receives permission to resume filimg by WGA, disrupting the schedule and increasing costs. On July 19, 2023, after another denial for dailies access, Lively pushes for more control, questioning who else has access to the film's editing process. On August 25, 2023, Baldoni finally sends her selected sections of the assembly cut, but firmly states that no further access will be granted until after the strike. By October 17, 2023, Lively’s persistence leads to her agent demanding Baldoni fly out to show her the full assembly cut, a request again denied by the studio. Throughout this phase, Lively's behavior increasingly undermines the production, testing the limits of the studio's patience and resources.

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THE DEMANDING BLAKE PHASE aka PRODUCTION PHASE TWO

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Blake Lively escalates her actions by presenting a list of 17 non-negotiable demands to Wayfarer Studios, aiming to assert more control over the production as post-production looms. These demands include security measures, the right to have a personal representative (her husband, Ryan Reynolds) present on set, and protections against any retaliation for raising concerns. The timing of these demands is critical, coming just after her repeated denials for access to the assembly cut, which she had sought three times. On November 9, 2023, Lively’s lawyer sends an email with the demands, suggesting allegations of misconduct on set without directly accusing anyone or out-right saying it, leaving the situation ambiguous. Interestingly, Lively does not formally file an HR complaint, which would have prompted a formal investigation into her claims, indicating -in my opinion- her intention to maintain leverage without directly engaging in a legal process.

The demands place Wayfarer and Sony in a difficult position, as they have already invested millions into the film and are nearing post-production. Lively’s approach seems less about addressing genuine grievances and more about gaining creative control, particularly as the studio faces the pressure of finishing the film, after the 6 months pause due to strikes at that point. By asserting her power through the 17-point list, Lively weasels herself into position of power, ensuring that her influence over the film continues even as the production enters its final stages. With significant costs already incurred and key scenes yet to be shot, the studio is cornered, as refusing Lively’s demands could jeopardize the entire project. Further complicating matters, Lively’s demand list insinuates the need for safety protections on set but never outright accuses anyone of sexual misconduct.

 

This strategy allows her to keep her claims vague, enabling her to maintain her position without triggering a full investigation. As the production moves forward, Lively continues to hold the studio hostage, forcing them to comply with her conditions to avoid losing the film entirely. In January 2024, Lively escalates further with a list of 30 demands, which she reads aloud rather than submitting in writing, again avoiding the formal HR process and preserving her ability to manipulate the situation. Her strategic maneuvering, particularly with Ryan Reynolds’ involvement, showcases her determination to control the production and the narrative around the film. - (respectfully, that's my opinion and interpretation.)

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BLAKE'S VILLAIN ERA aka POST-PRODUCTION PHASE

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In the post-production phase, Blake Lively intensifies her efforts to gain creative control over It Ends With Us, using her growing influence and persistent demands to push Wayfarer Studios and the director, Justin Baldoni, to the edge. Despite having no directorial authority, Lively forces her way into key decisions, especially in the editing process, and continues to press for access and power in ways that violate standard industry guidelines. Her behavior evolves from a behind-the-scenes manipulator to a key power player in the production, as she seeks to steer the film's creative direction.

After February 9, 2024, as filming wraps up and transitions into post-production, Lively makes egregious demands for access to the editing room, despite a protected 10-week private edit time granted solely to the director. When Baldoni agrees to her request to join the editing process on February 25, 2024, Lively insists on immediate involvement, forcing Baldoni to comply despite the violation of union rules

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By April 3, 2024, Lively's demands escalate further, as she reportedly tells Sony that she will not promote the movie unless she is granted her own cut. This demand threatens the entire promotional strategy for the film, adding significant pressure on the studio. A few weeks later, in April 23-24, 2024, Lively pushes for her own editorial team, (which was later revealed that the same team had worked on Deadpool.) Sony, realizing the gravity of the situation, reiterates that Wayfarer holds the final decision-making power, but the Wayfarer studio remains stuck in a position of no power, as Sony starts backing Lively more and more. 

 

Later on,  Lively demands Wayfarer to hire and pay for her personal editor, further straining the studio's resources and testing their boundaries. At this point, Sony gives in to Lively’s demands, signaling a shift in their approach, as they grow weary of the constant back-and-forth and are -in my opinion- intimidated by the power Lively and her husband, Ryan Reynolds, hold in Hollywood.

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By May 2, 2024, Lively is actively stalling the film's marketing by refusing to approve key promotional materials, including the trailer. This delay, with the premiere just three months away, causes mounting concerns at Sony. Finally, on May 3, 2024, under the threat of delaying the film's release or seeing it go unpromoted, Wayfarer reluctantly agrees to her demands, allowing her to continue editing with her personal editor, while also withdrawing their request for her to sign her overdue contract. Despite these mounting tensions, Baldoni, Wayfarer, and Sony continue to hope that Lively’s contributions will be integrated into Baldoni's original vision, though the relationship between them remains fraught with conflict.

 

BLAKE RIDING ON HER HIGH HORSES ERA aka MARKETING & THE PROMO CONTENT

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Blake Lively’s actions during the post-production and promotional phases of It Ends With Us demonstrate a calculated and aggressive strategy to gain control over the film, sidelining director Justin Baldoni and marginalizing Wayfarer Studios. She forced her way into the editing process, making substantial demands, including bringing in her own editor and composer, all while withholding approval for key marketing materials. Her behavior escalated, culminating in unauthorized screenings of her version of the film, putting immense pressure on the studio to comply with her demands. Throughout this period, she leveraged her status, making threats to withhold promotion or even accuse Baldoni of misconduct publicly, ensuring that her version of the film became the focus.

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Lively’s manipulation extended to the marketing and promotional aspects of the film, where she demanded that her name be the focal point of all materials, even at the expense of Baldoni’s credited role. She pushed for a PGA accreditation despite not earning it, using her influence to extract concessions from the studio, and her demands for creative control continued to grow. By the time of the film’s release, Lively had rebranded the project as her own, isolating Baldoni and the studio from key decisions and ensuring that her version of the film reached the public. Ultimately, her actions point to a long-term strategy to control the narrative surrounding the film and secure the rights for a potential sequel, cementing her dominance in the process. 

(everything is my opinion, just saying and reiterating... in case someone decided to go after me)

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WHY DID BLAKE LIVELY SUE?

 

By late August 2024, Blake Lively and Stephanie Jones, driven by motives of vindication and revenge, seized Abel's phone, uncovering far more than they anticipated. Instead of evidence of a smear campaign, they discovered that Justin Baldoni and Wayfarer had been suppressing negative press about both Blake and Justin, while a litigator was building a civil extortion case—backed by documented evidence.

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After realizing this, I consulted Omar from Tilted Lawyer. My key question was this: If you were Blake Lively camp, seeing a strong case built against, you, what would you do? His take: exactly what Lively has done.

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Plan A: A Strategic Buyout Attempt In mid-September, Ryan Reynolds allegedly tried to buy the movie rights from Baldoni as a way to protect Blake and gain control. The press, in a sudden shift, began portraying Baldoni more favorably, recycling similar quotes across multiple outlets—an apparent PR move to soften his image and tempt him into negotiations.

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Plan B: Lively’s team pivoted. With help from her PR circle and legal advisors, she filed a vague sexual harassment claim based on the 17-point document, strategically filed in California to beat the statute of limitations and reported by The New York Times—allegedly influenced by her longtime publicist Leslie Sloane. This approach aimed to shape public perception before Baldoni could make any legal moves of his own, even though there’s no indication he intended to sue.

The article’s tone—and the entire campaign—suggests a coordinated effort to cast Lively as the victim and nullify the threat of an upcoming extortion case. Central to this was journalist Megan Twohey, a key figure in the MeToo movement, rumored to have deep ties to Sloane. ​​​​