Ryan Reynolds’ Unsealed Texts Reveal Furious Push to Control It Ends With Us Fallout

When court filings were unsealed this week, they did more than add colour to the legal fight surrounding It Ends With Us. The dispute between Blake Lively and Justin Baldoni centres on allegations that Baldoni crossed professional boundaries, created discomfort on set, and retaliated after concerns were raised. The claims focus on workplace conduct and boundaries, not criminal wrongdoing.

What initially appeared to be a dispute between co-stars has since expanded far beyond the production itself. Newly unsealed messages, emails, and depositions reveal how a widening circle of powerful industry figures became entangled behind the scenes. At the centre of that expansion sits Ryan Reynolds, whose involvement now appears far deeper than that of a supportive spouse observing from the sidelines.

Reynolds Escalates Behind the Scenes

The unsealed texts show Reynolds communicating directly with senior executives at William Morris Endeavor, the powerful agency that at the time represented Blake Lively, Ryan Reynolds, and Justin Baldoni. Rather than seeking updates, Reynolds presses for action, using an internal channel where all three were clients.

In message after message, Reynolds urges Sony and Wayfarer to issue public statements backing Lively, pressing to review drafts and pushing for rapid release. His tone hardens when hesitation appears. That intervention is notable because Reynolds held no formal or contractual role on the film. It Ends With Us was acquired by Justin Baldoni and his production company, which controlled the rights and creative decisions. The unsealed texts show Reynolds inserting himself into studio and agency decision-making despite having no authority over the project.

Rather than distancing himself, Reynolds places himself at the centre of decision-making. The texts show him coordinating responses and urging institutions to act in unison. The scale of involvement is hard to ignore.

Private Conduct Collides With Public Claims

As the messages unfold, a clear pattern emerges. Reynolds’ focus intensifies as online criticism of Lively grows. He repeatedly frames backlash as hostile or manufactured, attributes criticism to outside manipulation, and resists suggestions that Lively acknowledge creative disagreement and move forward.

Unsealed group texts also show Reynolds and Lively privately mocking Baldoni with high-profile friends before the controversy became public. Reynolds describes Justin Baldoni as “Trumpy,” “Fauxminst”, “predatory,” and uniquely vile. He uses profanity to dismiss studio executives who do not move fast enough. This is not private venting. It is written advocacy aimed at forcing alignment.

In other exchanges, Reynolds floats claims that Baldoni had hired crisis teams and was orchestrating narratives, seeding an explanation for backlash that others in the chain begin to adopt.

At the same time, Baldoni’s filings allege a very different dynamic behind closed doors. He claims Reynolds aggressively confronted him during a meeting at Lively’s New York penthouse, accusing him of wrongdoing and demanding changes to the film, including the removal of a lifting scene following a dispute over safety and weight. Baldoni says the tone from Reynolds and Lively felt intimidating enough that he complied.

Those allegations remain contested. What is clear from the record is the contrast between public positioning and private conduct. Claims of boundary violations sit alongside messages showing informal, familiar communication. Assertions of power imbalance sit alongside evidence of celebrity leverage applied from multiple directions.

Commercial Success Does Not Cool the Conflict

Even when the film achieved clear commercial success, the tone of the exchanges does not settle. It Ends With Us went on to gross roughly $351 million worldwide against a reported $25 million production budget, yet the messages show no shift toward de-escalation.

Celebratory notes about box-office performance appear alongside renewed pressure on studios and agents to issue statements and take sides. Reynolds continues to press for alignment, even as the film’s success undercuts claims of reputational collapse. Financial victory does little to soften the approach.

The timeline deepens the contradictions. In early 2023, Reynolds sent Baldoni warm messages filled with praise and admiration, signing off with affection. Months later, he tells agents that no one in his experience has reached Baldoni’s level of alleged vileness. The documents show no gradual breakdown, only a sharp reversal that coincides with mounting backlash and marketing tensions.

Final Thoughts

The unsealed filings do not resolve the underlying dispute between Blake Lively and Justin Baldoni. They do, however, reshape how the public must view the roles played behind the scenes.

Ryan Reynolds emerges as an active participant who leaned on agencies, pressured studios, and pushed narratives with urgency and force. Blake Lively appears not only as a complainant but as a figure asserting extensive creative and operational control. Together, their private actions sit uneasily beside their public claims.

In a case built on credibility, timing and consistency carry weight. The record now shows a power struggle fought as much through texts and influence as through legal filings. That alone changes how this story must be read.