In a shocking turn of events related to the film It Ends with Us, Justin Baldoni’s on-set body double, Thomas Canestraro, has come forward to shed light on the tensions that surrounded the production. This revelation follows a series of dramatic legal proceedings involving Blake Lively and Baldoni, which reflect a troubling climate in Hollywood.
Canestraro, who joined the film’s crew for the final two weeks of shooting in early 2024, spoke exclusively to the Daily Mail, stating that he sensed an unusual level of discomfort among the cast and crew during filming. He described Blake Lively, one of the film’s leading actresses, as notably "closed off," which struck him as unusual given his prior experiences working with her. His observation is further intriguing, given the backdrop of Lively’s later legal actions against Baldoni.
The filming process was notably delayed, raising questions among the crew about why things were taking longer than anticipated. Canestraro speculated that these delays might have been due to the broader impacts of the 2023 writers’ strike, but he couldn’t ignore the feeling that there was something more personal affecting the atmosphere on set. Such concerns would eventually be validated when Lively filed a lawsuit against Baldoni in December 2024, alleging sexual harassment and creating a hostile work environment. In retaliation, Baldoni filed a substantial $400 million lawsuit that accused Lively and her husband, Ryan Reynolds, of attempting to defame him.
While all parties involved have denied the allegations, the legal battles have captured public attention and set the stage for a trial scheduled for March 2026. This backdrop of tension overshadowed the film’s core message about domestic abuse, which makes the situation even more disheartening.
Canestraro discussed how unnoticed dynamics on the set hinted at the storm brewing behind the scenes. "You could tell that the set was tense," he recounted. Despite Baldoni’s friendly demeanor, which Canestraro noted, there seemed to be an underlying current of discomfort. He expressed uncertainty about what was transpiring, observing that those who understood the gravity of the situation managed to maintain a semblance of "damage control."
The differences in Lively’s demeanor were stark for Canestraro, especially when he reflected on their previous collaboration during a marketing campaign for her movie A Simple Favor back in 2018. He had found her to be warm, considerate, and easy to work with, a far cry from the "closed off" character he encountered during It Ends with Us.
The presence of Ryan Reynolds, Lively’s husband, during filming didn’t initially raise any red flags for Canestraro. He viewed it as a sign of a supportive partnership. However, in retrospect, he pondered whether Reynolds’s appearances were a reaction to Lively’s struggles during filming. An insider echoed this sentiment, suggesting that Reynolds had "jumped in to help the film from disaster" and to support his wife in her trying time.
Canestraro’s reflections prompt a broader question about the impact of personal turmoil on professional settings, particularly in the film industry. The dynamics in play often remain under the surface, unnoticed by casual observers. The on-set experience serves as a case study in how personal issues can bleed into workplace productivity, affecting not just individual performances but team morale as well.
As the legal tug-of-war continues, Canestraro hopes that both Lively and Baldoni will find a pathway toward resolution. He emphasized, "I hope they can find an agreement… We don’t need that in the industry." His perspective encapsulates a growing sentiment among audiences and industry insiders that conflicts should not overshadow the critical messages that films seek to convey.
It’s essential to also recognize the complexity of emotions and experiences at play in such scenarios. Canestraro stated, "You can’t discredit anybody’s feeling or experience," a nuanced perspective that acknowledges the validity of both sides while pushing for clarity and resolution.
The film It Ends with Us, at its core, aims to tackle profound issues surrounding domestic abuse and relationships. However, the professional fallout between its stars has raised questions about the production’s integrity and the effectiveness of its message. As more stories come to light from behind the scenes, one can only hope for an eventual reconciliation that will not only heal the wounded parties involved but also restore faith in the productions we so eagerly await.
Such situations remind us of the human elements involved in filmmaking, where the intersection of personal struggles and professional responsibilities creates a complex tapestry. In the end, Canestraro’s insights into the filming of It Ends with Us not only reveal the fragility of professional relationships but also highlight the profound need for empathy, support, and understanding in the entertainment industry.
As we await the resolution of the legal battles, we must not lose sight of the film’s intended message and the need for compassion in both art and life.
