Blake Lively Cites New Law in Bid to Dismiss Justin Baldoni’s ‘Vengeful’ Lawsuit

French Montana Fails to Scrap $402K Judgment Over ‘Vicious’ Dog Attack

Blake Lively is asking a federal judge to reject Justin Baldoni’s $400 million defamation lawsuit against her, calling it both illegal and an “epic self-own” that places Baldoni and his Wayfarer Studios partners on the hook for a massive damages payout to the It Ends With Us actress.

“The Wayfarer parties’ vengeful and rambling lawsuit against Blake Lively is a profound abuse of the legal process that has no place in federal court. The law prohibits weaponizing defamation lawsuits, like this one, to retaliate against individuals who have filed legal claims or have publicly spoken out about sexual harassment and retaliation,” Lively’s new dismissal motion filed Thursday in Manhattan federal court states.

Lively’s new motion cites a relatively new California law that protects alleged survivors of sexual assault, harassment, and discrimination from retaliatory defamation lawsuits. The statute, signed into law in 2023, applies in the Baldoni matter because he cited California law when he filed his claim, Lively’s lawyers argue. They also point out that the law includes a “mandatory fee shifting provision” that would require Baldoni and his Wayfarer partners to pay not only Lively’s attorneys’ fees and but also triple damages and punitive damages is she succeeds in getting the lawsuit tossed out.

“In other words, in an epic self-own, the Wayfarer parties have created more liability for themselves by their malicious efforts to sue Ms. Lively ‘into oblivion,’” the new motion states.

Lively, 37, previously sued Baldoni, his producing partners on It Ends With Us, and his publicists on Dec. 31, 2024. In her blockbuster complaint, Lively said she suffered “disturbing” sexual harassment during production of the movie and was later subjected to a vicious smear campaign designed to “silence” her.

Baldoni, 41, responded by suing Lively as well as her superstar husband, Ryan Reynolds, with claims he was the one subjected to false allegations aimed at destroying his career. He claimed Lively used “falsified stories” to “take control” of It Ends With Us, which Baldoni co-starred in as well as directed. He claimed Lively and Reynolds later turned him into a “scapegoat” after Lively faced a “self-inflicted press catastrophe” when the movie premiered in August 2024. (Lawyers for Baldoni and his partners did not immediately respond to a request for comment on Thursday.)

Reynolds filed his own separate motion to dismiss the defamation claim on Tuesday, arguing that Baldoni shouldn’t be allowed to sue over “hurt feelings.” “Mr. Reynolds has a First Amendment right to hold Mr. Baldoni — or any man who Mr. Reynolds believes sexually harassed his wife — in ‘deep disdain,’” the actor’s filing read.

Lively’s battle with Baldoni spilled into the public court system a week after The New York Times published a Dec. 21 story titled “‘We Can Bury Anyone’: Inside a Hollywood Smear Machine” that revealed Lively had filed a precursor complaint against Baldoni with the California Civil Rights Department.

In a statement issued Thursday, Lively’s lawyers Mike Gottlieb and Esra Hudson said Baldoni’s defamation lawsuit was both “meritless and retaliatory” and would come back to haunt him and his partners, including Wayfarer’s billionaire co-founder Steve Sarowitz. (In the motion to dismiss, they claimed Sarowitz previously made a threat to essentially write a blank check for legal action against Lively. “Steve Sarowitz may indeed make good on his threat to spend ‘$100 million’ litigating against Ms. Lively, but perhaps not in the way he planned,” they wrote.)

“California law now expressly prohibits suing victims who make the decision to speak out against sexual harassment or retaliation, whether in a lawsuit or in the press,” the lawyers said. By suing Lively for defamation, Baldoni and his partners “only created more liability” for themselves, “and deservedly so, given what they have done,” the lawyers claimed.

“While Ms. Lively has suffered greatly by speaking up and pursuing legal claims, it is important for other people to know that they have protections, and that there is a specific law that expressly protects them from being silenced or financially ruined by a defamation lawsuit because they had the courage to speak up,” Lively’s spokesperson said in a separate statement Thursday.

‘Coco 2’ is in the works at Pixar: What we know

A sequel to the Pixar animated film “Coco” is officially on the way, Disney CEO Bob Iger announced Thursday during a shareholder meeting.

“While the film is just in the initial stages, we know it will be full of humor, heart and adventure, and we can’t wait to share more soon,” Iger said.

Released in 2017, the original “Coco” centered on a young aspiring musician named Miguel, who travels to the Land of the Dead. The film received critical acclaim, grossed over $800 million at the worldwide box office and won two Academy Awards: best animated film and best original song for “Remember Me.”

Anthony Gonzalez voiced Miguel in the original movie, and the voice cast also included Gael García Bernal and Edward James Olmos.

A social media post on Pixar’s X account Thursday said that “Coco 2” will hit theaters in 2029. But the post was later edited to not mention a year, and a press release provided by Disney did not specify when the film will debut. USA TODAY has reached out to Disney for clarification.

The announcement came on the heels of Pixar achieving massive success in 2024 with “Inside Out 2,” which grossed over $1.6 billion worldwide and became the highest grossing animated film in history at the time. The record was later broken by “Ne Zha 2.” This was seen as a return-to-form for Pixar, which released three consecutive movies, from 2020’s “Soul” to 2022’s “Turning Red,” directly on Disney+ during the COVID-19 pandemic, without a theatrical release in the United States.

The studio returned to theaters in 2022 with the “Toy Story” spinoff “Lightyear,” which disappointed at the box office. Coming off “Inside Out 2,” the “Coco 2” announcement indicated that Disney is doubling down further on sequels to its Pixar titles, several of which are already on the way.

The non-Pixar sequel “Moana 2” was also a hit for Disney in November, grossing more than $1 billion worldwide after achieving the biggest Thanksgiving weekend opening in history.

Review: Joyful ‘Coco’ breaks from the Pixar pack as a Mexican musical spectacular

Disney said the team behind the original “Coco,” including director Lee Unkrich and co-director Adrian Molina, are returning for the sequel, which will be produced by “Toy Story 4” and “Inside Out 2” producer Mark Nielsen. Unkrich previously directed “Toy Story 3,” while Molina co-directed Pixar’s upcoming “Elio,” an original film slated for June.

Information about the cast and plot of “Coco 2” was not revealed on Thursday, but Pixar did share the movie’s official logo.

“This time around it’s Toy meets Tech,” and “Buzz, Woody, Jessie, and the rest of the gag’s jobs get exponentially harder when they go head to head with this all new threat to playtime,” per the official plot synopsis.

“Incredibles 3” is also in the works at Pixar, though a release date hasn’t been announced. And while a third “Inside Out” hasn’t been confirmed, it seems all but certain after the success of the second entry.

Outside of Pixar, Disney will debut “Zootopia 2” in time for Thanksgiving 2025, “Ice Age 6” will arrive in 2026, and “Frozen 3” will hit theaters in 2027, with a fourth “Frozen” also announced.

“We’re leaning a little bit more into sequels and franchises,” Iger said last year in an earnings call. “Given the environment, and given what it takes to get people out of their homes to see a film, doing that, leaning on franchises that are familiar, is actually a smart thing.”

The original “Coco” is available to stream on Disney+.

Blake Lively Asks Court to Dismiss Justin Baldoni’s ‘Vengeful’ Lawsuit Against Her

Elizabeth Rosner joined PEOPLE as a Senior Reporter in 2024. Her work previously appeared in the New York Post and The Messenger.

Blake Lively is fighting to dismiss what she calls a “baseless” and “retaliatory” lawsuit from Justin Baldoni, arguing that his defamation claims are a blatant attempt to punish her for speaking out about sexual harassment and workplace retaliation.

On Thursday, March 20, Lively, 37, and her legal team filed a motion to dismiss Baldoni’s, 41, complaint, calling the It Ends With Us director and costar’s $400 million lawsuit “vengeful and rambling” and an abuse of the legal system.

Lively’s attorneys, Mike Gottlieb and Esra Hudson, blasted the suit as legally groundless and an effort to silence her. “This lawsuit is a profound abuse of the legal process that has no place in federal court,” they said in a statement. “California law now expressly prohibits suing victims who speak out against sexual harassment or retaliation, whether in a lawsuit or in the press. This meritless and retaliatory lawsuit faces three insurmountable legal obstacles, including the litigation, fair report, and sexual harassment privileges. The latter contains a mandatory fee-shifting provision that will require billionaire Steve Sarowitz and Wayfarer Studios to pay damages. In an epic self-own, the Wayfarer Parties’ attempt to sue Ms. Lively ‘into oblivion’ has only created more liability for them — deservedly so, given their actions.”

Lively’s legal team argues that the lawsuit is part of the Wayfarer Parties’ campaign to “bury” and “destroy” her for speaking out about her allegations.

The legal battle began in December 2024, when Lively sued Baldoni, It Ends With Us producer Jamey Heath, Wayfarer Studios co-founder Steve Sarowitz, and others, accusing them of sexual harassment and orchestrating a smear campaign to damage her reputation. Baldoni responded with a $400 million defamation lawsuit, also suing her husband, Ryan Reynolds, 48.

Lively’s attorneys’ new motion alleges that Baldoni and his co-defendants are subject to California Civil Code Section 47.1, a newly enacted law that prohibits retaliatory lawsuits tied to public disclosures of sexual harassment. The statute explicitly bars lawsuits meant to punish individuals for speaking out, whether in legal complaints or public statements.

Lively’s attorneys also challenge Baldoni’s claim that she “conspired” with The New York Times, arguing that she was legally entitled to file a complaint and disclose its contents. They call this allegation meritless and another intimidation tactic.

If the court dismisses the lawsuit under Section 47.1, Baldoni and his co-defendants could be required to pay Lively’s legal fees, treble damages, and punitive damages.

A spokesperson for Lively added in a statement, “The painful reality is that Ms. Lively is not alone in being sued for defamation after speaking up about workplace sexual harassment. That is exactly why California recently enacted AB 933, which codified Civil Code Section 47.1. While Ms. Lively has suffered greatly for speaking up and pursuing legal claims, it is important for others to know that they have legal protections. There is a specific law that shields them from being silenced or financially ruined simply because they had the courage to tell their truth.”

Baldoni’s attorney Bryan Freedman previously said Baldoni has been left financially and emotionally “devastated” by the legal battle. “…In these kinds of cases, once someone says something it becomes fact: There’s no way to fight against it,” he said.

Baldoni and Lively are set to face off in court on March 9, 2026.

Meanwhile, on Tuesday, March 19, Ryan Reynolds filed his own motion to dismiss Baldoni’s lawsuit, further challenging its legal grounds.

PEOPLE has reached out to Baldoni and his legal team for comment.

Norm Clarke, a Las Vegas celebrity columnist and former AP sports writer, dies at 82

Norm Clarke, a colorful journalist who covered the back-to-back World Series champion Cincinnati Reds of the 1970s as an Associated Press sports writer and then became a popular entertainment columnist in Las Vegas, has died after a long battle with prostate cancer.

Clarke, 82, died on Thursday at a Las Vegas hospice center, said his brother, Jeff Scheid.

Instantly recognizable with his signature eye patch — he lost his right eye in a childhood accident — Clarke had a big hit with his “Vegas Confidential” column for the Las Vegas Review-Journal beginning in 1999. He covered what he called “the world’s greatest buffet of entertainment news” in a 2024 interview with “Vegas Revealed” podcast co-host Dayna Roselli.

His celebrity sightings and reports of “celebrities behaving badly” included scoops on Britney Spears’ 55-hour Vegas marriage in 2004, Michael Jackson’s surprise return to the city in 2006 after nearly three years in Europe, and Elton John getting booed after losing his temper and throwing a stool and glass of water during a show.

“Norm’s Review-Journal column was so popular he became a celebrity in his own right,” Review-Journal Executive Editor Glenn Cook said by email. “He was a gentleman. Readers loved him. I consistently heard from subscribers who said Norm was the first thing they read every day.”

A 2010 Forbes magazine profile described his role this way: “Writing up gossip in Sin City is the Wild West of entertainment beats. Norm Clarke is the sheriff.”

Donald Trump and “Playboy” founder Hugh Hefner were among those offering blurbs for Clarke’s 2009 book “Sinsational Celebrity Tales.”

Clarke, who retired in 2016, credited his AP training with helping develop the aggressive reporting and interviewing style that made his Vegas column a long-running hit.

“Being remembered as a reporter was always my hope. I would not want to be known as a gossip columnist,” Clarke said in a Review-Journal interview last week. “With all the time I put in with The Associated Press, wearing the mantle of AP reporter meant everything to me. A lot of pride goes into working for the AP.”

Clarke left the Helena, Montana, Independent Record in 1973 and joined AP in Cincinnati, where he covered the emergence of the dominating Big Red Machine that won baseball world championships in 1975-76 led by Pete Rose, Johnny Bench, Joe Morgan and Tony Perez.

That was the beginning of a long, sometimes contentious relationship with Rose.

Clarke broke news on his contract squabbles with the Reds, subsequent signing with the Philadelphia Phillies, and his retirement. Decades later, Rose, who stayed in Las Vegas for much of the year to sell his autograph, slapped Clarke in the face after Clarke listed him among Vegas’ worst tippers. However, Clarke said he and Rose shook hands in their final meeting.

Major League Baseball’s all-time hits leader died in Las Vegas on Sept. 30, 2024, at age 83.

Clarke also led AP coverage of the devastating 1977 fire at the popular Beverly Hills Supper Club entertainment spot just across the river from Cincinnati in Southgate, Kentucky. As Clarke tried to get to the scene, he found traffic was at a standstill, so he pulled over and ran a mile (1.61 kilometers) to the club. He was the first to interview Walter Bailey, the busser who interrupted a dinner show and warned people to evacuate, likely saving many lives from the blaze that killed 165.

Andy Lippman, AP’s retired assistant chief of bureau in Los Angeles who first worked with Clarke as the correspondent in the Cincinnati AP office, recalled Clarke’s tireless coverage of the fire.

“In those pre-cellphone days, he ran up and down the hill where the club was located, found phones and dictated, for about 16 hours,” Lippman said, adding that Clarke later called him and said he had dreamed of seeing the charred bodies around him.

Clarke moved on to San Diego with the AP. He was sent to Las Vegas in 1980 to help cover the MGM Grand Hotel and Casino fire that claimed 85 lives. He also helped coordinate coverage of the 1984 Los Angeles Olympics.

He then joined the Rocky Mountain News as a sports reporter, producing an award-winning series on illegal sports betting and chronicling Denver’s successful pursuit of a baseball expansion franchise that became the Rockies in 1993. Highlights of his reporting became his 1993 book, “High Hard Ones.”

Clarke was “the best pure news reporter I knew in more than 50 years in newspapers. He had a special ear for quotes, and the ability to get people to talk to him,” said Denny Dressman, a former Rocky Mountain News editor who helped complete Clarke’s recent memoir and edited “High Hard Ones.”

Among his personal adventures was twice running with the bulls in Pamplona, Spain, then getting stomped by a bull in the inaugural running in Tecate, Mexico.

A native of Terry, Montana, Clarke was 10 when he lost his father, Charlie, to cancer and then his right eye months later. His father was “a huge sports fan” who in 1951 drove from Montana to New York City for the all-New York Giants-Yankees World Series, Clarke said.

His mother, Dorothy, was reluctant to let Norm play football, fearing he would damage his other eye, but she finally relented, and he became a starting defensive lineman.

He was working in a grocery store when the editor of the local weekly newspaper offered him $5 to cover a three-day basketball tournament. His hometown team won the tournament on a buzzer-beating half-court shot.

“It was the best payday of my life,” he recalled, “because in that moment, I realized I could do what I loved — and get paid for it,” he said. “Covering sports lifted me out of a dark place and changed my life.”

Clarke’s memoir, “Power of the Patch,” was published this month. He wanted the book distributed free of charge in schools and libraries in Montana and in the cities where he worked.

Besides Scheid, Clarke is survived by a sister, Nancy Morast of Kalispell, Montana; another brother, Newell Clarke of Terry; and his wife, Cara Roberts Clarke, whom he married in 2012. Clarke was godfather to Marine Sgt. David Kreuter of Cincinnati, who was killed at age 26 on Aug. 3, 2005, by a bombing in Iraq that claimed 15 lives.

Scheid said a memorial service will be scheduled later.

— —

Sewell, a retired AP journalist, first worked with Clarke as an intern in AP’s Cincinnati office in 1977.

‘Coco 2’ in the works at Pixar with original directors returning

Here’s something to sing about: Pixar is developing a sequel to Coco.

Disney CEO Bob Iger revealed the news during a shareholders’ meeting Thursday, stating that while Coco 2 still in the initial stages, “It will be full of humor, heart, and adventure.” He added, “We can’t wait to share more soon.”

Coco filmmakers Lee Unkrich and Adrian Molina will return to direct the follow-up, which is slated for a 2029 theatrical bow. Mark Nielsen, the Oscar-winning producer behind Toy Story 4 and Inside Out 2, will produce.

Released in 2017, Coco tells the story of Miguel (voiced by Anthony Gonzalez), a 12-year-old boy who dreams of becoming an accomplished musician despite his family’s generations-old ban on music. With the aid of a trickster spirit, he ventures to the vibrant Land of the Dead to unlock the real story behind his family history. The voice cast also includes Gael García Bernal, Benjamin Bratt, Alanna Ubach, and Gabriel Iglesias.

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Coco grossed nearly $815 million at the worldwide box office and won two Oscars, for Best Animated Feature and Best Original Song, the latter for “Remember Me,” from acclaimed songwriting duo Kristen Anderson-Lopez and Robert Lopez.

Disney also announced at the D23 Expo last summer that Disney California Adventure Park will be developing a Coco theme park attraction, the first inspired by the film to be added to a Disney park. Constructed is expected to begin in 2026.

Tina Fey Checks Into ‘The Four Seasons’ in New Trailer

Tina Fey and Steve Carell need a vacation from their vacations in the first teaser for the upcoming Netflix miniseries The Four Seasons. The new series, which Fey also wrote and produced, is an adaptation of the 1981 Alan Alda film of the same name. All eight episodes of the series will premiere on Netflix on May 1.

In the teaser, we meet three long-married couples: Kate (Fey) and Jack (Will Forte, MacGruber), Nick (Carell) and Anne (Kerri Kenney-Silver, Reno 911!), and Danny (Colman Domingo, Sing Sing) and Claude (Marco Calvani, Borgia). Just as they’re about to head off on a vacation together, one of the couples announces that they’re splitting up. The series then follows the six longtime friends over the course of a year and four vacations as the news affects them. However, it’s not all navel-gazing and ennui: the trailer promises skiing mishaps, tropical storms, inflatable sex dolls, and Steve Carell learning that bare feet don’t mix with sea urchins. It’s all set to Vivaldi’s “The Four Seasons,” naturally.

What Other Creatives Are Behind ‘The Four Seasons’?

In addition to the six stars, The Four Seasons will also feature guest appearances from Julia Lester (High School Musical: The Musical: The Series), Ashlyn Maddox (Law & Order), Jacob Buckenmyer (Welcome to Chippendales), Taylor Ortega (Welcome to Flatch), Simone Recasner (The Big Leap), Toby Huss (Halt and Catch Fire), Tommy Do (Hacks), Chloe Troast (Saturday Night Live), Jack Gore (Billions), Cole Tristan Murphy (Long Bright River), and Alan Alda, who wrote, directed, and starred in the original film. Fey co-created the series with 30 Rock cohorts Tracey Wigfield and Lang Fisher; all three also wrote and executive produced the series. Also executive producing are David Miner, Jeff Richmond, and Eric Gurian. The series will be directed by Robert Pulcini & Shari Springer Berman, Oz Rodriguez, Richmond, Domingo, and Fisher.

The original The Four Seasons had the same premise, and starred Alda, Carol Burnett, Len Cariou, and Rita Moreno. It was well-reviewed and a hit at the box office, making $50.4 million USD on a $6.5 million budget; it also sparked renewed interest in the music of Vivaldi. It also spawned a short-lived TV version in 1984.

The Four Seasons will premiere on Netflix on May 1. Stay tuned to Collider for future updates, and watch the new teaser for The Four Seasons below.

The Four Seasons

Comedy

Network Netflix

Cast

Colman Domingo

Uncredited

Steve Carell

Tina Fey

Erika Henningsen

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Ryan Reynolds claims Justin Baldoni can’t sue him for ‘hurt feelings.’ What a legal expert says of latest filing.

Ryan Reynolds claims Justin Baldoni can’t sue him for ‘hurt feelings.’ What a legal expert says of latest filing.

Taryn Ryder

March 19, 2025 at 8:13 PM

Justin Baldoni’s attorney slammed Ryan Reynolds’s attempt to get dismissed from the $400 million lawsuit filed against the Deadpool star and his wife, Blake Lively.

On Tuesday, Reynolds asked a court to drop Baldoni’s legal claims against him, and while he didn’t deny the Deadpool & Wolverine character “Nicepool” mocked Baldoni, he claimed the director can’t sue over “hurt feelings.” Reynolds also said it’s not defamatory that he allegedly called Baldoni a sexual predator if he believes it to be true. But one legal expert told Yahoo Entertainment it’s not likely Reynolds will be dismissed from the case right now.

In Reynolds’s filing, his lawyers asked what he has to do with Lively’s allegations of sexual harassment and retaliation against Baldoni, Wayfarer Studios (which Baldoni founded with billionaire Steve Sarowitz) and others.

“So what does Ryan Reynolds have to do with that, legally speaking, other than being a supportive spouse who has witnessed firsthand the emotional, reputational and financial devastation Ms. Lively has suffered? Nothing,” the complaint read.

Baldoni’s attorney, Bryan Freedman, disagreed.

“Mr. Reynolds’s exploitation of his enormous power in Hollywood continues, this time arrogantly asking to be dismissed from the case despite his publicly documented involvement extending far beyond just being a ‘supportive spouse.’ Mr. Reynolds was a key player in the scheme, defaming Justin around Hollywood, strong-arming WME into dropping Justin as a client, and trying to destroy Justin’s career however possible,” Freedman told TMZ.

Baldoni claimed he was dropped from his talent agency WME, which also reps Reynolds and Lively, after pressure from the superstars. Baldoni alleged Reynolds privately called him a sexual predator twice.

“[Ryan’s] fingerprints have been all over this smear campaign against Justin and the Wayfarer team since day one,” Freedman said. “Mr. Reynolds now attempts to reduce plainly cognizable claims to ‘hurt feelings,’ sending a clear message that bullying is acceptable.”

Freedman continued, “After lighting a match, Mr. Reynolds now seeks to run from the flames. It won’t work. The Wayfarer Parties’ claims against him are real, and they are serious. Mr. Reynolds can appear on as many sketch shows as he wants and feebly try to make light of his current situation, but we will not stop until he is held accountable for his actions.”

In a statement, Reynolds’s lawyers essentially laid out what is at the heart of their 38-page filing.

“The entirety of Mr. Baldoni’s case appears to be based on Mr. Reynolds allegedly privately calling Mr. Baldoni a ‘predator,’ but here is the problem, that is not defamation unless they can show that Mr. Reynolds did not believe that statement to be true,” Mike Gottlieb and Esra Hudson told Yahoo.

“The complaint doesn’t allege that, and just the opposite, the allegations in the complaint suggest that Mr. Reynolds genuinely believes Mr. Baldoni is a predator. Mr. Reynolds’s wife has accused Mr. Baldoni — privately and in multiple complaints — of sexual harassment and retaliation, and as pointed out by Mr. Reynolds’s motion, Mr. Baldoni has also openly spoken about his past of mistreating women and pushing the boundaries of consent,” they wrote. “Mr. Reynolds has a First Amendment right to express his opinion of Mr. Baldoni, which should be comforting to a group of people who have repeatedly called Ms. Lively and Mr. Reynolds ‘bullies’ and other names over the past year.”

Celebrity lawyer Chris Melcher, of Walzer Melcher & Yoda, told Yahoo Entertainment it’s “unlikely” Reynolds will be dismissed at this stage — but Baldoni may have to amend his complaint.

Reynolds stated in the complaint there are no “plausible facts that suggest Mr. Reynolds did not believe this [‘predator’] comment to be true,” but rather “allegations suggest that Mr. Reynolds genuinely, perhaps passionately, believes that Mr. Baldoni’s behavior is reflective of a ‘predator.’” Reynolds also argued “the law establishes that calling someone a ‘predator’ amounts to constitutionally protected opinion.”

Melcher said Reynolds “cannot escape liability by saying that he believes the statement to be true.”

“He can be held liable for defamation if he acted with reckless disregard for the truth in making the statement,” Melcher explained.

“The test for a motion to dismiss is whether the accusations that Justin has made against Ryan, if proven to be true at trial, are sufficient for a legal claim to be made. This is not a determination of whether Justin’s claims are meritorious,” he continued. “The only issue is whether the accusations are specific enough to put Ryan on notice of why he’s being sued, and to determine whether Justin has alleged enough facts to bring Ryan to court.”

Melcher believes “the judge may require Justin to amend his complaint to be more specific” about some of his legal claims, but it’s “unlikely that Ryan would be dismissed from the lawsuit at this stage.”

Reynolds’s rep released the following statement after the actor’s motion to dismiss:

The claims filed against Mr. Reynolds are simply a list of grievances attempting to shame Mr. Reynolds for being the man Mr. Baldoni has built his brand pretending to be, a man who is “confident enough to listen” to the woman in his life. We look forward to this lawsuit being dismissed, and to collecting on Steve Sarowitz’s $100 million pledge by recovering Mr. Reynolds’s costs and attorneys’ fees incurred to toss this frivolous case.”

Review: In ‘The Residence’ and ‘Ludwig,’ charming detectives are tapped to resolve a mystery

There’s nothing funny about murder, but it’s a handy device on which to hang a comedy.

To be sure, there are those who like their mysteries dark and — ugh — “gritty.” But the tenderhearted like their puzzles too, and the whole rigmarole of eccentric sleuths, colorful suspects and solve-along-at-home stories; for them — and I mean us — the world is troubling enough without adding invented psychopaths and serial killers to the heap. A spoonful of sugar helps the homicide go down.

Two new mysteries full of comedy, or comedies full of mystery, premiere Thursday. “The Residence,” on Netflix, stars Uzo Aduba as a sleuth with a passion for bird-watching; “Ludwig,” on BritBox, offers David Mitchell as a professional puzzle maker impersonating his missing twin brother, a police detective. They’re tonally distinct, but both are fun and easy to recommend.

Created and written by Paul William Davies, “The Residence” is essentially a blown-out version of an Agatha Christie country-house mystery — a fact it acknowledges with a shot of a Christie paperback — set in the White House, among its many chambers, public, private and practical. (There are some cute dollhouse representations of the layout, and the life-size re-creations are impressive.) With its upstairs-downstairs dynamic — the “us” and “them” of it is explicitly laid out — large cast and grand beehive setting, it suggests a wackier contemporary American “Gosford Park.”

The victim is White House head usher A.B. Wynter (Giancarlo Esposito), who keeps things running smoothly around the place, found dead in the family quarters as a wingding is underway in a ballroom below. The party is celebrating Australia, which makes possible a guest shot from Kylie Minogue, who will perform, and a running joke involving Hugh Jackman, whose face is never seen, as the actor is not Hugh Jackman, which is part of the joke. Unless, it actually is Hugh Jackman, which would be an even better joke.

The discovery of the body, an apparent suicide — though anyone with any experience of TV mysteries will spot problems — brings in representatives from the FBI, the Park Police and the local constabulary, whose chief (Isiah Whitlock Jr.) arrives with “world’s greatest” Det. Cornelia Cupp (Aduba). “Wow, it’s a lot of dudes,” she says, eyeballing the assembled lawmen, including FBI Special Agent Edwin Park (Randall Park), who will become her doubting partner through the investigation.

There are no lack of suspects. Is it assistant usher Jasmine Haney (Susan Kelechi Watson), tired of waiting for Wynter’s job; the president’s shiftless brother Tripp Morgan (Jason Lee) and dipsomaniac mother-in-law Nan Cox (Jane Curtin); his best friend and advisor Harry Hollinger (Ken Marino), who yells a lot; or First Gentleman Elliot Morgan (Barrett Foa)? (In this fantasy world, America has elected a gay president, played by Paul Fitzgerald.) Could it be the disgruntled Swiss pastry chef (Bronson Pinchot); the ambitious new head chef (May Wiseman); the social secretary (Molly Griffs), who wants to “reinvent the White House as a concept”; the drunk butler (Edwina Findley); the tall butler (Al Mitchell); the gardener (Rebecca Field); or the engineer (Mel Rodriguez)? Or one of too many others to mention?

The plot is framed by testimony developed at a subsequent congressional investigation, chaired by a senator played by Al Franken, formerly a real-life senator, with Eliza Coupe as an opposition troublemaker. Marino’s character will accuse Franken’s character of turning the hearing into “a murder mystery.” “Murder mysteries are so popular right now,” replies Franken, getting meta for a moment.

Few of the characters represent more than an attitude, but the actors are having a contagious good time, and Aduba’s detective seems deep by virtue of being something of an enigma; her preferred method of interrogation is to stare and say nothing. (She will get a bit of broadening backstory, or side-story, eventually). Things in her head are always clicking, though she is liable too to go off birding, for which the White House grounds are apparently quite good. Aduba’s an imposing presence in any case, and one would hope to see her character enlisted in further Cornelia Cupp adventures — the name itself seems too good to waste — if perhaps shorter than the current season’s eight episodes, which are by temporal necessity here and there padded. (“It’s hard to keep track of everything,” Cupp says at one point, as if in sympathy with the viewer.) There could be twice as many stories if they made them half as long, and four times as many at a perfectly generous two hours.

In the wonderful, Cambridge-set “Ludwig,” David Mitchell, best known here for “Peep Show,” “Upstart Crow” and as an irascible team captain on the panel show “Would I Lie to You?,” plays John Taylor, a professional inventor of puzzles — awkward, timid, with no social life and a disconnect from and disdain for modern times that Mitchell’s own self-presentation sometimes suggests. (No one expresses disdain quite as hilariously.) “Ludwig” is how John signs his puzzles, which allows for a score borrowed from Beethoven; there’s no deeper meaning, unless I missed it.

When his twin brother, Det. Chief Inspector James Taylor, disappears, John’s sister-in-law, Lucy (the divine Anna Maxwell Martin) enlists John to impersonate James in order to search his office for clues; but John, mistaken for James, is drafted into an investigation, and because he has a talent for seeing abstractly and solving things, he finds himself stuck in the role. His greater challenge, and the source of the series’ comedy, is impersonating a more-or-less normal person — even though John’s been rated “two points above” genius, “I find that never helps when it comes to chatting.” He calls a medical examiner’s report a “how-did-they-die test,” he can’t park a car properly, and, having lived largely inside his house, has a limited understanding of ordinary human concourse.

The six-episode show combines episodic mysteries with a seasonal plotline surrounding the whereabouts of James, which Lucy takes up — a fast-slow rhythm that keeps things lively in the short term and intriguing in the long. It’s a dramatic given that John, who begins this adventure unsure of himself, will become more confident as the job goes on and become closer to his adopted colleagues, especially partner Det. Inspector Russell Carter (Dipo Ola), just as by moving in with Lucy and teenage nephew, Henry (Dylan Hughes), he’ll gain a richer experience of family.

Mitchell is really the sole comic figure here, but on his own he’s enough to call “Ludwig” a comedy. Still, some deep drama — amplified by the Beethoven quotes on the soundtrack — surrounds him, and involves him, as John reckons with his past and present. Every mystery sets its own level of emotional depth, but even those in which murder is little more than an excuse for the detective to get out of bed and the story no more profound than a game of Clue can turn sad as motives are revealed and hapless killers taken away. “Ludwig” plays its minor and major chords, its darker and lighter passages, with equal clarity and force.

Robert De Niro talks starring alongside himself in ‘The Alto Knights’

When two-time Oscar winner Robert De Niro agreed to play Frank Costello, the diplomatic mob boss at the center of the new film “The Alto Knights,” there was another crucial question left to answer: Who would play Costello’s childhood friend turned enemy, mobster Vito Genovese?

De Niro told “Good Morning America” that it was producer Irwin Winkler who floated the idea of a dual role.

“I thought he’d be a good Genovese,” said Winkler. “By the same token, if he had said he wanted to play Genovese, and [the question was] who would play Frank Costello, he could play a good Frank Costello. So why not play both?”

And so it was decided. De Niro would star alongside himself as the two lead characters in the gripping crime drama based on a true story of a bloody battle between childhood friends turned bitter rivals that signaled “the end of the mob in America,” as writer Nicholas Pileggi puts it.

“One reason was it would justify my doing another gangster movie even more by taking on that challenge, if you will,” De Niro said of playing two roles in one movie. “It would be interesting to try it. I’ve not done anything like that.”

The Barry Levinson directed-film begins with begins with a botched hit on Costello ordered by Genovese, two mafia crime leaders who were once childhood best friends, and unravels the tight web of friendship, ambition and betrayal using the violent act as a jumping off point. De Niro stars alongside Debra Messing and Kathrine Narducci — who play the wives of the two mobsters — as well as Cosmo Jarvis, Michael Rispoli, and more.

“These were best friends from childhood,” said director Barry Levinson, referring to the real-life Costello and Genovese. “One ultimately wanting the other one killed, you go, ‘What happened?’… And I think that launches the storytelling.”

This is far from De Niro’s first time taking on a role as a mafia crime lord. He’s done it to the tune of widespread praise and adoration in “Goodfellas,” “The Irishman” and “Casino” just to name a few. Winkler and Pileggi are also the same writing and producing team that helped create “Goodfellas.”

Pileggi discussed the appeal of the mafia genre to American audiences, noting why mobsters have become such an enchanting anti-hero for them. Referencing a line from Costello in “The Alto Knights,” in which he states that American pioneers wiped out the native population and made themselves rich on the land’s gold and oil, Pileggi said, “He said, ‘All we had left was prohibition, crooked cops and corrupt politicians, and we made the most of it.’ And the average American hears that and [says], ‘He’s right.’”

Narducci, who plays Anna, the embattled wife of Genovese, said there is something stylistically attractive about the mafia.

“They’re glamorous. Some of them are good-looking, they smell good, they wear nice clothes, and it looks like they got it the easy way. They don’t get up and go to 9 to 5 jobs,” she said.

The film touches on all the traditional themes of the mafia — plenty of drama, hilarious one-liners and murder, reinforcing a prevailing message about loyalty that is found in most mafia pictures.

Messing, who plays Frank Costello’s wife Bobbie, portrays a level-headed spouse who is equally a romantic partner as she is a business partner. Her input and caution guides Costello’s decision making through the film, much to the chagrin of his fellow mobsters.

“She was, at the turn of the century, a Jewish woman… it was just verboten for that intermarriage. The fact that they did that, to me, showed the depth of their love, but also, their conviction that they could go against the tide, both of them strong people,” Messing said.

Narducci’s character also defied the times, running night clubs herself and testifying against her husband during a divorce dispute in open court proceedings.

Despite being shot in Ohio, “The Alto Knights” is unmistakably a New York story. De Niro has gained a reputation for bringing rich characters of the city’s history to life and even added two people he knew from childhood to play sidekicks of Costello and Genovese in the film, according to Levinson.

Messing said the authenticity of the cast created a portal to the world of the mafia.

“I think it brings a real sense of authenticity to the film. You can just sort of be like, ‘Oh, I am in 1950s New York,’ and it’s sort of a love letter,” she said.

A 72-hour stopover in Ethiopia offers travelers ancient wonders and city adventures

ADDIS ABABA, Ethiopia (AP) — As we darted through Addis Ababa’s morning rush hour, my jet lag couldn’t dull the energy of Ethiopia’s capital.

We wove through crowds of office workers headed to high-rises and families leading goats home for Orthodox Christmas feasts while our guide explained how one needs at least three weeks to fully experience his country. From the dramatic peaks of Simien Mountains National Park to the sprawling salt plains of the Danakil Depression, natural wonders alone could fill a month of adventure.

But there’s also plenty for time-pressed travelers like we were. “With a few days, you can get a taste,” guide Yonas Zewede of Landscape Ethiopia Tours assured me.

So, we embarked on a whirlwind trip that would prove him right, an ambitious three-day sprint through remote sacred sites and bustling city streets in this East African nation.

Evolving Addis: 48 hours in Ethiopia’s highland hub

The city, “New Flower” in Amharic, is being transformed, with construction nearly everywhere you look. Historic churches and mosques neighbor contemporary shops and restaurants amid a forest of cranes and scaffolding.

Among its enduring treasures is Ethiopia’s most famous export: Arabica coffee. We started the day at Tomoca Coffee on Wavel Street, one of Addis’ first coffee roasters. For less than a dollar a cup, the standing-room-only institution serves up macchiatos — bold coffee with a splash of milk — or a milder blend of coffee and tea, known as a sprice.

However, to fully appreciate the region’s coffee culture, one must experience a coffee ceremony, a ritual still practiced in homes, restaurants and hotels across Ethiopia. Incense mixes with the aroma of beans roasting over hot coals, each batch ground by hand before being brewed in a clay pot and poured with precision, as bowls of salted popcorn circulate.

We’d have time for the full service later. For now, fortified by a quick caffeine fix, we made our way to the nearby Merkato, among Africa’s largest open-air markets. Wandering for hours through a labyrinth of alleyways, we passed vendors selling everything from fragrant spices to handwoven baskets and live chickens.

Zewede helped us thread through the chaos, dodging both traffic and towers of merchandise balancing on people’s heads, all the while keeping watch for pickpockets known to prowl the area. Before moving on, we refueled on the side of the road with a warm chornake — a hearty, fried pastry — and fresh papaya juice.

For a more relaxed shopping experience, he brought us to Shiro Meda Market. Intricately embroidered dresses lined the walls from floor to ceiling alongside other colorful textiles. The ankle-length garments, called habesha kemis, sell for $15 to $50. At Safi Honey, we sampled exotic varieties like cactus, coffee and black cumin while delving into Ethiopia’s extensive beekeeping history.

We left with 16-ounce jars of the local delicacy at $9 each.

Anthropology enthusiasts will enjoy visiting a famous — and very ancient — resident: “Lucy,” one of the earliest hominid fossils. For a 40-cent entrance fee, the National Museum of Ethiopia has exhibitions on African art history and human evolution. A plaster replica of Lucy’s partial skeleton is on display, while her original remains are safely preserved in the museum’s vault.

As dusk settled over Addis, we made our way to the stylish 360 Lounge atop the Monarch Parkview Hotel. Here, one of the best views of the capital’s evolving skyline unfolded — modern towers rising above older tree-lined neighborhoods.

Ancient Lalibela: 24 hours in the sacred city

We took a short, one-hour flight north to the Amhara Region, an area, it should be noted, where several countries maintain travel warnings due to recurring conflicts. We were transported to what felt like another Ethiopia entirely. Bouncing two to a seat in a sweltering van, we drove through rural highlands, mountain curves and scattered herds of livestock.

The destination proved worthwhile: Lalibela, a site that some consider an Eighth Wonder of the World.

More than 800 years ago, King Lalibela set out to create a “New Jerusalem” with 11 churches painstakingly carved out of solid volcanic rock. The craftsmanship is so extraordinary — using only 12th and 13th century hand tools — that local legend claims angels helped build them.

Beneath these architectural marvels lie catacombs and ceremonial passages, including a pitch-black tunnel said to represent the journey through hell.

We found ourselves among thousands of pilgrims who had converged on Lalibela for the upcoming Orthodox Christmas. They formed seemingly endless processions through the hallowed passageways. Many had traveled on foot for weeks to reach this holy place and mark the end of their 43-day fast. We squeezed into the stone structures among worshippers deep in prayer. Many kissed the weathered walls; some paused to snap photos with us.

We began at Biete Medhane Alem, believed to be the largest monolithic church in the world according to UNESCO. Its grand scale was remarkable, with more than 30 imposing columns adorning its exterior. But Biete Ghiorgis, or Church of Saint George, was the most memorable site, with its iconic cross shape. Peering down into its sunken courtyard, it was easy to see how this blend of nature, architecture and spirituality has captivated visitors for centuries.

Later, at Kana Restaurant and Bar overlooking Lalibela, we lingered over aromatic awaze tibs (a spicy meat dish) and hearty vegetable stews served on fresh Ethiopian flatbread, or injera. We watched the sun sink behind distant mountains, knowing we’d barely scratched the surface of Ethiopia — and already planning our return.

Before you go:

— Many visitors, including Americans, are eligible for Ethiopian E-visas online or visas on arrival at Addis Ababa Bole International Airport.

— Despite a 2022 peace agreement in the northern region of Tigray, travelers should note that several countries maintain travel warnings for parts of Ethiopia, including the Amhara Region, due to recurring conflicts.

— Stay connected by purchasing an Ethio Telecom SIM card at the Addis airport — it offers coverage in both Addis Ababa and Lalibela.

— Consider booking with a tour company like Landscape Ethiopia Tours to maximize your itinerary during a brief visit or layover.