Handsome, wealthy, and globally famous, Canadian actor Ryan Reynolds has long cultivated an image as one of Hollywood's most affable personalities. He is known as a devoted family man, deeply committed to his actress wife Blake Lively and their four children, while maintaining strong friendships with fellow A-list celebrities like Hugh Jackman. While his quick wit and humorous quips are legendary, this week has unveiled a startling contrast: beneath that polished exterior lies what appears to be a reservoir of intense anger.
Legal Showdown Reaches Critical Stage
As the high-profile legal dispute between Lively and her It Ends With Us co-star Justin Baldoni approaches its conclusion, a flood of revelations has emerged from court documents. To summarise the core conflict: Lively has accused Baldoni of sexual harassment during the filming of the movie in 2023. Lawyers from both sides confronted each other in a New York courtroom this Thursday, with Baldoni's legal team seeking to have the lawsuit dismissed before the scheduled trial in late spring.
His attorneys argued that Lively's claims constitute 'trivial grievances' and 'petty slights' that fail to meet the necessary legal threshold. A judge will soon determine whether the case proceeds to trial on May 18 or is thrown out entirely.
A Trove of Unsealed Evidence
This week also saw the mass unsealing of hundreds of exhibits, including private text conversations involving Lively with famous friends such as Taylor Swift. Additionally, indiscreet chats featuring Baldoni's public relations team and British actress Jameela Jamil were revealed, with Jamil offering harsh criticism of Lively, labelling her a 'suicide bomber' and a 'villain'.
However, perhaps the most shocking disclosures, which had previously remained under the radar, directly involve Blake Lively's husband, Ryan Reynolds. Dozens of his text exchanges have been made public, and both their aggressive tone and substantial volume are truly staggering.
Reynolds' Explosive Language and Lengthy Rants
While most people send brief text messages, Reynolds' communications defy this norm. His longest, fury-filled message—laden with expletives and directed at one of his agents at William Morris Endeavour (WME)—spans over 1,000 words. Another single message exceeds 600 words in length.
The bulk of his passionate invective, dating back to last summer, is reserved for Justin Baldoni, who served not only as a co-star but also as the writer, director, and producer of It Ends With Us. We know from released emails that Lively considered Baldoni a 'clown' and a 'doofus', but Reynolds' descriptions are far more severe.
Vicious Character Assaults Revealed
Reynolds brands Baldoni as a 'predator', 'fraud', 'sociopath', 's***ball', 'human rounding error', and a 'bucket of dumb dumb juice'. Drawing parallels to his work on Deadpool, where he famously contributed to the character's foul-mouthed dialogue, it appears Reynolds possesses a real-life talent for rhetorical demolition and nasty insults.
'This guy is genuinely touched in some very strange ways. Like, a melon-baller lobotomy makes more sense than his self-propelled, malignant stupidity and revolting behavior,' he writes of Baldoni in one text.
In another revealing message, Reynolds states: 'I know I sound angry but I promise you I have way more rage in the tank. I just feel depleted and exhausted and, as they say, 'Keep away from the dying animal'. I can't and won't sit by watching my wife – who's been asked to shape-shift around a problematic man since the very beginning of this movie – complete a grand slam home run . . . Only to be dragged through the mud while people ring the 'shame bell' behind her.'
Defending His Wife's Reputation
Reynolds is, of course, entirely entitled to protect his wife's reputation. At the time, Lively faced significant online criticism for what was perceived as a tone-deaf promotion of It Ends With Us—a film about domestic violence—marketed as a fun girls' night out with suggestions to 'grab your florals'.
However, the impact of Reynolds' rage, expressed to top agents at WME (who also represented Baldoni at the time), had a clear consequence: Baldoni was dropped by the agency after the film's release. This highlights Reynolds' deep involvement in the film's affairs, despite holding no official role.
A Strategic Partnership or Marital Support?
This raises questions: Is Reynolds' support purely marital cheerleading, or are the couple teaming up to undermine her co-star? The texts suggest Reynolds insisted his wife should have final edit approval, receive credit for the film's success, and that Baldoni should issue a public apology for fostering a toxic work environment.
Some Hollywood observers this week recalled what happened with Tim Miller, director of Deadpool 2, who left the project abruptly. It was widely reported that Reynolds demanded control over the script, indicating a pattern of assertive involvement.
Power Dynamics in Hollywood Exposed
The lawsuit between Lively and Baldoni illuminates the complex power structures within the movie industry. When a major client like Reynolds sends twenty texts on a Saturday—as he did last August—agencies take notice. The almost palpable anxiety is evident in the response from WME's Warren Zavala to his $350 million client's rant: 'First of all, I love your writing. I've read this a couple times. I think we should chat. I can't respond in a way that plays at the same level.'
In another message to Patrick Whitesell, then a senior figure at WME, Reynolds writes: 'The thing I believe both my wife and I are missing most in this debacle, is your rage. And I hope I've illustrated why that is. I have never had anything but an intense love and admiration for WME and the entire company. But I've also never needed WME like I do in this moment. I'm always comfortable handling my own s***. But this is a situation in which I need (along with Blake) a sense of solidarity and duty of care.' Whitesell agreed, apologised, and promised to 'deploy' resources the following day.
Demanding Apologies and Accountability
Interestingly, a WME spokesman denied last year that Reynolds or Lively pressured the agency into terminating Baldoni's contract. Nevertheless, Reynolds' texts demand 'an unqualified, unreserved, full throat apology' for Lively and the film's team from Baldoni and his producing partner, Jamie Heath. He even drafts a version of this apology he deems acceptable.
Reynolds also calls for an apology from Sony regarding the marketing campaign, stating: 'They just need to f***ing go straight at this.' He outlines the required statement, adding: 'And this needs to be addressed IMMEDIATELY. This is the most disturbing thing I've ever seen in this business. Sony needs to step up for real. ENOUGH IS ENOUGH.'
Broader Targets of His Wrath
The extraordinary texts reveal that Baldoni is not the only target of Reynolds' fury. Two executive producers on the film, Todd Black and Andrea Ajemian, are harshly dismissed as 'f***ing textbook, ineffectual elderly people with no ideas or thoughtful communication skills. Just blunt instruments with six catchphrases and about five key words.' For context, they are aged 65 and 50.
Anyone perceived as failing to protect Lively becomes a prime target. 'She f***ing refused to give up on the film. She didn't sleep, she missed countless moments with her kids while sitting in edit rooms,' Reynolds texted. 'Blake – under NO CIRCUMSTANCES – should be asked to clean up this sloppy, cliched f***storm. The only thing they don't seem interested in is the truth. And all Blake HAS is the truth.'
The 'Nice Guy' Image Under Scrutiny
Maintaining his 'Nice Guy' persona is crucial for Reynolds' success in both acting and commercial ventures. Since his debut as Deadpool in 2009's X-Men Origins: Wolverine, his career has soared. However, as his star has risen, reports of his temper have surfaced.
Previous Incidents Hint at Underlying Temper
Last September, he appeared to admonish the kindly actor Eugene Levy on a red carpet, with lip-readers suggesting he told him: 'Bull****, man.' After Levy allegedly responded, 'Language. You don't need to speak so harsh,' Reynolds apparently retorted: 'Please don't ever tell me how I can talk to people.' The two later embraced on stage.
A year earlier, entrepreneur Martha Stewart surprised many by telling an interviewer that Reynolds—a friend and neighbour—was 'not so funny in real life. No, he's not so funny. He's very serious.' After reading his recently revealed text messages, it becomes challenging to disagree with that assessment.
The unsealed documents provide a stark contrast to Ryan Reynolds' carefully curated public image, revealing a fiercely protective and verbally aggressive side that has remained largely hidden until now. As the legal battle reaches its climax, these disclosures offer a rare glimpse into the high-stakes conflicts and powerful personalities shaping Hollywood's behind-the-scenes dramas.
