<img src="https://sb.scorecardresearch.com/p?c1=2&amp;c2=36750692&amp;cv=3.6.0&amp;cj=1"> Ok, so Justin Baldoni's lawyer wants to sell tickets to Blake Lively's testimony - and officially subpoenaed Taylor Swift – We Got This Covered
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Ok, so Justin Baldoni’s lawyer wants to sell tickets to Blake Lively’s testimony – and officially subpoenaed Taylor Swift

Why would Baldoni think this qualifies as entertainment?

Little did we know when It Ends With Us came out, fans would genuinely hope this kind of sensationalism truly ends with Blake Lively.

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The latest update in the Baldoni-Lively saga is that Justin Baldoni’s lawyer now plans to subpoena Taylor Swift, turning the case into an even bigger circus than it already is. This move aligns with New York Times allegations that Baldoni is more focused on destroying Lively’s reputation through publicity stunts than proving his innocence. People reports that, as of now, both Baldoni and Lively are scheduled to testify in their case in March 2026.

The case has caused widespread turmoil and loss. From Baldoni’s point of view, he claims he’s an innocent man and a feminist ally. That’s why, he says, he chose to adapt a Colleen Hoover book about breaking the cycle of abuse. In that light, some people will never see him the same again. He’s already lost awards, representation, and likely several projects that were in development. It would be surprising if he ever worked at the same budget level as he did on his last film.

And from Lively’s side, she’s allegedly lost friends in the industry, and if even half her claims hold water, the aftereffects of that set will haunt her career for good. There are some who will always see her as the one who cried wolf. So much information and commentary have entered the public sphere, yet we remain far from the truth. 

Among Baldoni’s lawsuits is one targeting the New York Times for pushing what he calls an “unverified narrative.” For context, the paper alleged Baldoni and his PR team orchestrated an online barrage with the intention of “burying Lively.” While the New York Times provided text messages and emails ing their claims, Baldoni’s representatives dismissed them as cherry-picked. Now, their latest move doesn’t need investigative reporters to expose. According to Baldoni’s team, they’re trying to sell tickets to Lively’s deposition and stream it from MSG. Bryan Freedman, Baldoni’s lawyer, says they want to “make it count” and donate the proceeds to domestic abuse victims.

Lively’s rep has lashed out at the demand, asserting that “a case of sexual harassment and retaliation into entertainment for the tabloids.”

Swift’s team is understandably furious and issued a statement rebuking the entire effort.

“Taylor Swift never set foot on the set of this movie, she was not involved in any casting or creative decisions, she did not score the film, she never saw an edit or made any notes on the film, she did not even see It Ends With Us until weeks after its public release, and was traveling around the globe during 2023 and 2024 headlining the biggest tour in history.”

There’s no longer any question about who’s trying to make a spectacle out of this. That’s the main takeaway from this latest update. Lively recently appeared on Seth Meyers to address the situation for the first time, saying this ordeal will only make it harder for women to come forward in the future.

Baldoni continues to assert his innocence, and we’ll have to wait for the court’s verdict on that front. But we should ask whether we really need to turn this into such a spectacle. Why would Baldoni and his team think watching Taylor Swift speak about the possible sexual harassment of her friend qualifies as entertainment?

Regardless of where you stand — because, somehow, even this has “sides” — we learned from the Johnny Depp case that spectacle only muddies the waters, where justice takes a backseat to cynical entertainment.


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Author
Image of Fred Onyango
Fred Onyango
Fred Onyango is an entertainment journalist who primarily focuses on the intersection of entertainment, society, and politics. He has been writing about the entertainment industry for five years, covering celebrity, music, and film through the lens of their impact on society and politics. He has reported from the London Film Festival and was among the first African entertainment journalists invited to cover the Sundance Film Festival. Fun fact—Fred is also a trained pilot.