Entertainment
The New York Times strikes back at Justin Baldoni with surprise lawsuit over “It Ends With Us” defamation battle… here’s what they’re demanding
Months after Justin Baldoni’s $250 million defamation case against The New York Times was dismissed, the media giant has filed its own lawsuit — seeking compensation for what it calls a “baseless” and costly legal fight.
The legal saga surrounding Justin Baldoni and The New York Times has taken another dramatic turn — and this time, the tables have turned.
On September 30, the Times filed a new lawsuit in the New York County Supreme Court, seeking to recover “costs, fees, and expenses” incurred during Baldoni’s high-profile defamation case over the film It Ends With Us.
According to court filings obtained by USA TODAY, the paper alleges it spent “not less than $150,000” defending itself from what it described as “claims that had no basis in law or fact.”
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Baldoni’s production company, Wayfarer Studios, is named as the defendant in the new complaint, with the Times asserting that Wayfarer is “jointly and severally liable” for the damages caused by the “baseless” lawsuit.
“By operation of law, Wayfarer is jointly and severally liable for the damages resulting from the baseless claims brought against The Times,” the filing reads.
The origins of the legal feud
This latest move by the Times comes nearly a year after Baldoni, who directed and co-starred in It Ends With Us alongside Blake Lively, filed a $250 million defamation lawsuit against the publication.
In his original complaint, Baldoni accused the Times of publishing an exposé that included damaging allegations from Lively regarding “workplace misconduct,” including claims of sexual harassment and a “smear campaign” on set.
The dispute quickly escalated when the case was consolidated into a $400 million lawsuit that also named Ryan Reynolds — Lively’s husband — as a co-defendant.
Ultimately, Baldoni’s suit was dismissed earlier this year, with the court finding insufficient evidence to substantiate his claims of defamation.
But the Times wasn’t finished. The new filing marks a rare but pointed response from one of the world’s most powerful media organizations — one that’s clearly aiming to send a message about the costs of taking on the press.
The Times fights back
Legal experts say the Times’ counteraction is both strategic and symbolic.
“By pursuing reimbursement, The New York Times is signaling that it won’t tolerate lawsuits meant to intimidate journalists or stifle reporting,” said Jane Kirtley, a media law professor at the University of Minnesota.
In its complaint, the Times argues that Baldoni’s initial defamation case was “entirely without merit” and caused the publication to expend significant resources defending its reporting.
The paper’s attorneys assert that its journalism about the It Ends With Us production was grounded in verified sources and protected under the First Amendment — the cornerstone of U.S. press freedom.
Baldoni’s attorney pushes back
In a statement to USA TODAY, Baldoni’s attorney Bryan Freedman dismissed the Times’ lawsuit as a move by a powerful institution to “crush dissent.”
“Win, lose or draw, we refuse to cave to power brokers even in the face of seemingly impossible odds,” Freedman said. “We continue to stand tall for a reason: the pursuit of truth, in the face of giants. If the current laws protect legacy media in this manner, perhaps it’s up to us to ignite that change.”
Freedman’s fiery statement echoes a sentiment of defiance — suggesting that Baldoni, despite losing the initial case, sees himself as standing up to media overreach.
A Hollywood-meets-media showdown
The It Ends With Us controversy has blurred the lines between Hollywood drama and real-life courtroom spectacle.
The romantic film, based on Colleen Hoover’s bestselling novel, has already drawn massive attention — both for its story and for the off-screen tensions between its stars.
Insiders say the film’s production was “plagued by mistrust” and behind-the-scenes conflicts, fueling the friction that eventually led to legal fireworks.
Meanwhile, the Times continues to stand by its reporting. In a statement released shortly after Baldoni’s initial lawsuit, a spokesperson for the paper emphasized that its coverage was “accurate, fair, and deeply sourced.”
What happens next
Legal analysts believe this new lawsuit could be settled out of court, though it raises important questions about the growing trend of celebrities suing media outlets for defamation — and how news organizations are beginning to fight back.
If successful, the Times could set a precedent for holding plaintiffs financially responsible for what courts determine are frivolous or retaliatory claims.
“Media organizations are now drawing a line,” said Jeff Kosseff, a cybersecurity and law expert. “They’re saying, if you sue us without grounds, you’ll pay for it.”
While the public feud between Justin Baldoni and The New York Times may have begun as a clash over reputation, it’s now evolved into something much larger — a confrontation over the boundaries of truth, free speech, and accountability in an era where both Hollywood and journalism are under the microscope.
Entertainment
How ‘Avengers: Endgame’ Returned to Cinemas and Reclaimed Box Office Glory
Renewed ticket sales send Marvel’s 2019 finale past ‘Avatar’ to lead the all-time global chart again.
Seven years after its original release, Avengers: Endgame has unfinished business at the box office.
The Marvel Studios blockbuster has overtaken James Cameron’s Avatar to become the highest-grossing film worldwide once again. According to The Walt Disney Company’s October 4 announcement, Endgame now holds an estimated $2.9255 billion, narrowly ahead of Avatar’s $2.9237 billion. That puts just $1.8 million between two of cinema’s biggest hits.
The lead is small. The comeback, however, is substantial: a film released in 2019 has drawn enough fresh ticket sales to rewrite the all-time chart.
The ‘Encore’ release that tipped the balance
The latest theatrical run, titled Avengers Endgame: Encore, has earned $126 million worldwide, according to TheWrap. That includes $36.2 million in North America and $89.8 million from international markets—the extra business that pushed the film back into first place.
Audiences also had a reason to return beyond revisiting a familiar blockbuster. TheWrap reports that the reissue features a modified ending and three new scenes during and after the credits, connected to Avengers: Doomsday. The release therefore serves two purposes: bringing an established favourite back to cinemas and giving viewers a bridge to the next Avengers story.
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A rivalry with a history of reversals
This is another change of leadership in a box office contest that has lasted for years.
Endgame first displaced Avatar in 2019. Cameron’s science-fiction epic regained the crown following its Chinese re-release in 2021. Now, another theatrical return has swung the result in Marvel’s favour. Re-releases have become a decisive part of the competition, extending both films’ earning lives well beyond their original runs.
The distinction matters: this is the record for worldwide theatrical revenue without adjustment for inflation, including re-release earnings. It measures money collected rather than the number of tickets sold.
Why ‘Endgame’ matters to ‘Doomsday’
The timing gives Marvel’s comeback an added significance. Avengers: Doomsday is scheduled to reach cinemas on December 18, 2026, and Disney has positioned Endgame as an important foundation for that next chapter.
Explaining the connection, Anthony Russo said: “You really need to pick the story up from where you left it in Endgame.”
That makes this return more than a victory lap. A film remembered for closing a major chapter of Marvel’s story is now helping introduce the next one—and, along the way, has taken back Hollywood’s most closely watched box office title.
Entertainment
Tom Cruise’s ‘Digger’ Faces a Tough Opening: Could ‘Verity’ Take the Lead?
Cruise’s star power meets a fresh box office challenge as the Colleen Hoover adaptation emerges as a formidable rival.
Tom Cruise has spent years persuading audiences to watch him attempt the impossible. With Digger, the challenge is different: convincing moviegoers to embrace an eccentric, darkly comic character who bears little resemblance to his familiar action heroes.
Directed by Alejandro González Iñárritu, the film arrives in US cinemas on October 2, 2026, carrying considerable expectations. Cruise plays Digger Rockwell, an oil tycoon confronting a catastrophe connected to his company’s actions. It is a conspicuous departure for an actor whose recent screen identity has been shaped by spectacular stunts and blockbuster franchises.
Yet the conversation before release has increasingly turned from Cruise’s transformation to a more uncomfortable question: how many people will buy a ticket?
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A costly film facing a modest opening
According to Koimoi’s September 30 report, Digger was tracking for a North American opening below $15 million, against a reported production cost of approximately $125 million. These are reported estimates, rather than confirmed earnings or a final accounting of the film’s costs.
That gap explains the concern surrounding Warner Bros.. An expensive production needs sustained attendance, and a subdued debut would place greater pressure on subsequent weekends and overseas markets.
An opening forecast cannot establish a film’s eventual profit or loss. It can, however, reveal how much work remains for the campaign.
Reviews have complicated the pitch
The critical response has been sharply divided. People reported reactions ranging from admiration for the film’s audacity and Cruise’s commitment to criticism of its scale, coherence and tone.
For potential ticket buyers, that creates an uncertain proposition. Cruise’s presence attracts attention, but attention does not automatically translate into enthusiasm for an unfamiliar kind of film.
The promotional campaign has leaned into that disagreement. The Guardian described advertising that places harsh reactions alongside praise, using the controversy itself to generate interest. Whether that approach encourages curiosity or deepens hesitation remains an open question.
Why ‘Verity’ makes the weekend more intriguing
The Hollywood Reporter expects Digger to open substantially behind Verity, the Amazon MGM Studios adaptation of Colleen Hoover’s novel. hollywoodreporter.com
Starring Anne Hathaway, Dakota Johnson and Josh Hartnett, Verity is also scheduled to open on October 2. Its psychological-thriller premise centres on a writer who discovers a disturbing manuscript while completing another author’s book series.
From a marketing perspective, an established novel and a recognisable thriller setup could offer a more immediate hook. Digger, by comparison, asks audiences to take a greater leap into unfamiliar territory.
The audience verdict is still ahead
Cruise has clearly committed to that leap. At the London premiere, Reuters reported that his transformation involved prosthetics and a padded bodysuit, alongside a demanding performance.
The commercial outcome remains unresolved. Strong audience recommendations could give Digger momentum beyond its initial forecasts. A weak response would make its financial challenge harder.
For now, the film’s biggest suspense lies beyond the screen: whether curiosity about Cruise’s unusual gamble becomes an opening-weekend ticket purchase.
Entertainment
‘Verity’ Could Outopen ‘Digger’: Why Tom Cruise Faces a Tough Contest
The competing releases raise a compelling question: which film will persuade more audiences to buy a ticket?
Tom Cruise has spent years persuading audiences to watch him attempt the impossible. With Digger, the challenge is different: convincing moviegoers to embrace an eccentric, darkly comic character who bears little resemblance to his familiar action heroes.
Directed by Alejandro González Iñárritu, the film arrives in US cinemas on October 2, 2026, carrying considerable expectations. Cruise plays Digger Rockwell, an oil tycoon confronting a catastrophe connected to his company’s actions. It is a conspicuous departure for an actor whose recent screen identity has been shaped by spectacular stunts and blockbuster franchises.
Yet the conversation before release has increasingly turned from Cruise’s transformation to a more uncomfortable question: how many people will buy a ticket?
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A costly film facing a modest opening
According to Koimoi’s September 30 report, Digger was tracking for a North American opening below $15 million, against a reported production cost of approximately $125 million. These are reported estimates, rather than confirmed earnings or a final accounting of the film’s costs.
That gap explains the concern surrounding Warner Bros.. An expensive production needs sustained attendance, and a subdued debut would place greater pressure on subsequent weekends and overseas markets.
An opening forecast cannot establish a film’s eventual profit or loss. It can, however, reveal how much work remains for the campaign.
Reviews have complicated the pitch
The critical response has been sharply divided. People reported reactions ranging from admiration for the film’s audacity and Cruise’s commitment to criticism of its scale, coherence and tone.
For potential ticket buyers, that creates an uncertain proposition. Cruise’s presence attracts attention, but attention does not automatically translate into enthusiasm for an unfamiliar kind of film.
The promotional campaign has leaned into that disagreement. The Guardian described advertising that places harsh reactions alongside praise, using the controversy itself to generate interest. Whether that approach encourages curiosity or deepens hesitation remains an open question.
Why ‘Verity’ makes the weekend more intriguing
The Hollywood Reporter expects Digger to open substantially behind Verity, the Amazon MGM Studios adaptation of Colleen Hoover’s novel. hollywoodreporter.com
Starring Anne Hathaway, Dakota Johnson and Josh Hartnett, Verity is also scheduled to open on October 2. Its psychological-thriller premise centres on a writer who discovers a disturbing manuscript while completing another author’s book series.
From a marketing perspective, an established novel and a recognisable thriller setup could offer a more immediate hook. Digger, by comparison, asks audiences to take a greater leap into unfamiliar territory.
The audience verdict is still ahead
Cruise has clearly committed to that leap. At the London premiere, Reuters reported that his transformation involved prosthetics and a padded bodysuit, alongside a demanding performance.
The commercial outcome remains unresolved. Strong audience recommendations could give Digger momentum beyond its initial forecasts. A weak response would make its financial challenge harder.
For now, the film’s biggest suspense lies beyond the screen: whether curiosity about Cruise’s unusual gamble becomes an opening-weekend ticket purchase.
How ‘Avengers: Endgame’ Returned to Cinemas and Reclaimed Box Office Glory
Tom Cruise’s ‘Digger’ Faces a Tough Opening: Could ‘Verity’ Take the Lead?
‘Verity’ Could Outopen ‘Digger’: Why Tom Cruise Faces a Tough Contest
‘Endgame’ Returns to No. 1 ‘Avatar’ Loses Its Box Office Throne
Mark Zuckerberg Faces a New Hollywood Reckoning Why Aaron Sorkin’s Film Hits Closer to Home
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