A federal judge in New York ruled on Thursday to dismiss ten of Blake Lively’s 13 claims against her “It Ends With Us” costar Justin Baldoni, including those related to harassment, defamation, and conspiracy. Though three of the claims will stand, this is being celebrated as a victory by Baldoni and his legal team. The claims being argued at trial include retaliation, aiding and abetting retaliation, and breach of contract. “We’re very pleased the Court dismissed all sexual harassment claims and every claim brought against the individual defendants: Justin Baldoni, Jamey Heath, Steve Sarowitz, Melissa Nathan, and Jennifer Abel,” Alexandra Shapiro and Jonathan Bach of Shapiro Arato Bach said in a statement. “These were very serious allegations, and we are grateful to the Court for its careful review of the facts, law and voluminous evidence that was provided,” the statement went on. “What’s left is a significantly narrowed case, and we look forward to presenting our defense to the remaining claims in court.” A rep from Lively’s legal team insisted that even though the harassment claims were dropped, it was on a technicality. Sigrid McCawley said her client’s claim against Baldoni “isn’t going forward not because the defendants did nothing wrong but because the court determined Blake Lively was an independent contractor, not an employee,” per People. “…the greatest measure of justice is that the people and the playbook behind these coordinated digital attacks have been exposed and are already being held accountable by other women they’ve targeted,” the statement went on. The legal drama between the former costars started in December 2024 when Lively filed a lawsuit against Baldoni accusing him of sexual harassment, retaliation, and attempting to “destroy” her reputation. This came after she starred opposite Baldoni in “It Ends With Us,” a film he also directed. Baldoni fervently denied the claims, responding with a countersuit against his co-star and her husband, actor Ryan Reynolds. He also sued The New York Times for $250 million in a defamation claim for an article about the situation, which he says is “rife with inaccuracies, misrepresentations, and omissions.” The countersuit was dismissed by the judge in June 2025. A trial is scheduled to kick off May 18 in New York.

After losing its bid for Warner Bros Discovery’s rich trove of characters and stories, Netflix is forging ahead with the challenging work of building culture-defining franchises on its own. Chief Creative Officer Bela Bajaria said Netflix would keep investing in original ideas, and partner with established studios like MGM and Warner Bros, to try and produce movies and series that live on for years, in the vein of “Stranger Things,” “Wednesday” and “Bridgerton.” “To me, that’s just continually the goal,” Bajaria said in an interview. Yet the failed attempt to buy Warner Bros’ storied movie studio and HBO highlighted a vulnerability for the relative Hollywood upstart, whose catalog of original films and series spans around a dozen years, compared with more than a century’s worth of stories and characters for Warner Bros, Walt Disney and Universal Pictures. Netflix was willing to make its biggest bet ever with $72 billion to shore up its library and augment its intellectual property with Harry Potter and “Game of Thrones,” because creating franchises has proven challenging. Interviews with 16 current and former Netflix executives, industry leaders and agents illustrate a picture of the streaming giant whose strategy of making something for everyone, and serving many audiences all at once, is different from crafting a Taylor Sheridan-like universe of “Yellowstone” spin-offs that brings a built-in audience. Even so, Netflix’s own prolific showrunner, Shonda Rhimes, has successfully adapted Julia Quinn’s “Bridgerton” novels into a series that’s entering its fifth season, a spinoff and a touring event set in the Regency-era London, dubbed “The Queen’s Ball.” Franchises can be valuable for entertainment companies, because they are lower-risk investments that can bring in ancillary revenue through merchandise sales and in-person experiences. Recognizable characters and stories also stand out in a fragmented media landscape, grabbing a viewer’s attention in a time of myriad distractions. Netflix announced its first major acquisition, the comic book publisher Millarworld, a day before Disney told investors in August 2017 that it would pull its movies from the streaming service to create a rival, later dubbed Disney+. “Stranger Things” has been an unqualified success, producing a spin-off series, a stage play, and merchandise. Netflix points to other examples, such as the action-adventure film “Extraction,” starring Chris Hemsworth, that led to a sequel and a third installment in production, as well as a series starring acclaimed French actor Omar Sy. Its long-running dating show “Love Is Blind” has been remade for multiple global audiences, including versions centered in Brazil, France and Japan. There have been pricey flops along the way to building its own franchises, like the reported $700 million deal to acquire rights to Roald Dahl’s catalog, which includes such beloved children’s stories as “Charlie and the Chocolate Factory.” The investment has yet to produce a major hit in five years — though Netflix will try again this year. It plans a Willy Wonka-inspired reality show called “Golden Ticket” in which competitors try to survive games and temptations on a set with a chocolate river. Producing consistent hits that spawn new series helps to attract and retain subscribers and increase engagement, which grew by only 2% in the second half of 2025, according to media consultant Owl & Co. Top-line growth has been slowing, with revenue expected to grow 13% this year, according to data from LSEG, compared to 16% in 2025, and its advertising sales represent only 3% of the total. YouTube’s ascendancy poses a competitive threat. YouTube and Disney, with its vault of iconic characters, have consistently beaten Netflix in share of television viewing since October 2024, according to Nielsen’s media distributor gauge, which measures broadcast and cable television viewing and streaming. Complicating matters, Paramount Skydance is acquiring Warner Bros, which could reduce the number of suppliers of original shows. Armed with a $2.8 billion windfall from the failed Warner Bros deal, Netflix Co-CEOs Ted Sarandos and Greg Peters will continue to go it alone. Its coming releases include time-tested characters and stories, including a live-action “Scooby-Doo” series and a “Narnia” movie based on the C.S. Lewis books and directed by Greta Gerwig. “The Electric State” offers one example of an expensive failure that illustrates the inherent risks in attempting to launch a sprawling Marvel-like cinematic universe. Netflix snagged Joe and Anthony Russo, the brothers behind the smashing success of Walt Disney’s Avengers movies and Netflix’s own “Extraction,” to adapt the critically acclaimed science-fiction novel, and cast “Stranger Things” star Millie Bobby Brown alongside Hollywood A-lister Chris Pratt as stars. Critics savaged the $320 million film when it was released last year. Plans to more fully exploit the film — including a possible spin-off series and sequels — never materialized, according to two sources directly involved with the project who requested anonymity to protect their industry relationships. “A lot of people have big movies that also are IP that don’t work,” said Netflix’s Bajaria. “We’re in the film and TV business, so a lot of things work, a lot of things don’t work.” Other gambles — such as Netflix’s decision to greenlight “Squid Game,” a dystopian thriller from creator Hwang Dong-hyuk that others had passed on — paid off handsomely, creating a global juggernaut. With the sheer volume of content, Netflix also has its share of surprises, like Sony Pictures Animation’s Oscar-winning animated film ”KPop Demon Hunters,” which last year became the most watched movie ever on the service. When lightning strikes, it can rely on its unparalleled global distribution and sophisticated algorithm to stoke enthusiasm for a movie or series that viewers have begun to binge, helping to create cultural phenomena. Netflix is treating “KPop Demon Hunters” as its next major franchise, with licensed toys and other merchandise from Mattel and Hasbro, themed “adult” meals from McDonald’s, a possible concert tour and a planned animated sequel. But the success caught Netflix off guard, according to two sources. In fact, the company didn’t have licensed toys available to capitalize on the phenomenon during the holiday shopping season. Netflix has said in interviews that it approached toymakers and retailers a year or more ahead of the film’s release, but they were unwilling to take a risk on an untested property. At a March 18 presentation in Los Angeles, Netflix showcased its 2026 lineup, which includes a fourth installment of “Bridgerton,”  a second season of “One Piece,” an adaptation of the long-running manga series, a live-action TV series based on the “Assassin’s Creed” video game franchise, and a reboot of “Little House on the Prairie.” “We’re off to a strong start and feeling confident about the quality and consistency of our slate this year,” said Jinny Howe, vice president of original series at Netflix. (Reporting by Dawn Chmielewski and Lisa Richwine in Los Angeles; Editing by Jen Saba and Anna Driver)

War Secretary Pete Hegseth has asked Army Chief of Staff Gen. Randy George to step down and retire immediately, marking the latest shakeup at the Pentagon as the Trump administration moves to reshape military leadership. According to CBS News, a senior War Department official said the move reflects a desire for new leadership aligned with the administration’s priorities. “We are grateful for his service, but it was time for a leadership change in the Army,” the official said. George, a career infantry officer and West Point graduate, was nominated by former President Joe Biden and confirmed by the Senate in 2023. The position typically carries a four-year term, meaning George would ordinarily have served until 2027. He previously served as vice chief of staff of the Army and as senior military assistant to Defense Secretary Lloyd Austin. Pentagon spokesman Sean Parnell confirmed George’s retirement, thanking him for his decades of service. George’s career included deployments during Operation Desert Shield, Desert Storm, Operation Iraqi Freedom, and Operation Enduring Freedom. Gen. Christopher LaNeve, the Army’s current vice chief of staff and a former military aide to Hegseth, will serve as acting chief of staff. Parnell described LaNeve as “a battle-tested leader” trusted to carry out the administration’s vision for the Army. The decision comes as Hegseth has removed more than a dozen senior military officers in recent months, including Chairman of the Joint Chiefs of Staff Gen. C.Q. Brown, U.S. representative to NATO’s military council Vice Admiral Shoshana Chatfield, and Defense Intelligence Agency Director Lt. Gen. Jeffrey Kruse. While the move follows a recent dispute over an Army helicopter flyover near musician Kid Rock’s Nashville home, where Hegseth overruled the Army and halted an investigation, the decision to ask George to retire was not related to that incident. George’s departure also comes amid a broader stretch of rapid developments inside the administration. On Wednesday, before the Pentagon shakeup came to light, President Donald Trump delivered a prime-time address touting progress in ongoing operations against Iran, describing significant degradation of Iranian military capabilities while signaling the potential for further escalation, which may include Army operations. At nearly the same time, Trump moved to dismiss Attorney General Pam Bondi, another high-profile personnel change that underscores the fast-moving nature of the administration’s second-term agenda. Reports indicate Bondi was informed of her removal shortly before the president’s address on progress in Iran, highlighting the compressed timeline of major decisions unfolding across both national security and domestic fronts. Taken together, the developments point to an administration operating at an accelerated pace, reshaping leadership across the military and federal government while prosecuting an increasingly assertive foreign policy. George’s ouster, in that context, is not an isolated personnel move, but part of a broader effort to align key institutions with the administration’s strategic vision. George’s departure underscores ongoing efforts by Pentagon leadership to install officials who will implement the administration’s broader vision for the military, as tensions between civilian leadership and uniformed officials continue to surface.

Virginia has become a hotbed for illegal immigrant crime following a string of recent murders. In just over a month, three illegal immigrants have been accused of carrying out brutal killings — including one where the victim was a 3-month-old infant — in Fairfax County, which has notoriously flouted Immigration and Customs Enforcement’s (ICE) detainers. President Donald Trump’s border czar Tom Homan is now calling on sanctuary leaders in the state to get on board to work with ICE. In an appearance on Fox News Thursday, the former ICE director encouraged authorities in the commonwealth to make deals with the feds that mimic Homan’s agreements in Minneapolis. “Elections have consequences,” Homan said of the recent killings. “I lived in Virginia. [Virginia Governor Abigail] Spanberger took over and she moved so far left, she’s not even recognizable anymore. Look, in that city, Fairfax, they’ve been a sanctuary city. I’ve been complaining about them for years.” “Sanctuaries are sanctuaries for criminals and for any politician, or chief of police, or the sheriff, they want to say they’re not gonna enforce federal immigration law, not their job, they can’t honor ICE detainers, they don’t think they’re legal, we can do the same thing we did in Minneapolis. We can do the same thing, talk to the sheriffs, talk to the chiefs. If you don’t want to honor detainers, I get it we can litigate that in courts,” he said. Sanctuary politicians, like @GovernorVA, REFUSE to put the safety of American citizens first. It is common sense. Sanctuary politicians must cooperate with @ICEgov and stop releasing criminals from their jails to create more innocent American victims. pic.twitter.com/kCo7PttMid — Homeland Security (@DHSgov) April 2, 2026 Trump sent Homan to Minneapolis following the deaths of anti-ICE activists Renee Good and Alex Pretti. Homan took on the role of lowering the temperature with the goal of drawing down the number of federal immigration agents deployed to the Twin Cities. By the end of his deployment, Homan had brokered what he described as “unprecedented” levels of cooperation with authorities in Minnesota, who he said had agreed to hand over illegal immigrants as soon as they were to be released. Homan said at the time that ICE officers would be strategically stationed nearby, so local authorities didn’t have to hold the inmates longer than local charges would allow. Homan is now offering to do the same in Virginia. “There’s nothing illegal about you calling ICE before you release them, and we’ll be there to take custody. You don’t have to hold them one minute past what you would normally hold them on your charges. Just give us a call, it’s free, and we’ll be there. We’ll even strategically locate deportation officers near those jails,” he told Fox News host Will Cain. “That’s the success we had in Minneapolis, we got record cooperation there. We can do the same thing in Virginia. But I truly believe they hate Trump more than they care about their public safety because the common sense approach is call us and we’ll be there and take that public safety threat off the street,” he added. Guatemalan illegal immigrant Misael Lopez Gomez, 28, was arrested Friday after he allegedly killed his 3-month-old daughter in Fairfax County, according to WUSA9. Another Guatemalan illegal immigrant, Anibal Armando Chavarria Muy, 38, was arrested Sunday after he allegedly repeatedly stabbed a man to death in Fairfax County, according to ABC7. An illegal immigrant with 30 prior arrests was arrested in February after he allegedly fatally stabbed 41-year-old mother Stephanie Minter. The Sierra Leone national, Abdul Jalloh, 32, allegedly left Minter’s lifeless body at a Fairfax County bus stop when he fled the scene. ICE has arrested thousands of illegal immigrants in Virginia who pose threats to “public safety,” but has had to operate without the help of local authorities, according to Homan. “We had to go out and look for them, which is dangerous for the community, dangerous for the officer, dangerous for the alien … we’re gonna keep doing it,” Homan said. “Give us custody in your jail before you release them, and you’re gonna see the crime rate drop significantly,” he said.

Warner Bros. really ticked off Tolkien fans when they dropped a bombshell so outrageous that it had people double-checking to make sure it wasn’t a Babylon Bee headline. Stephen Colbert. “Lord of the Rings.” A match made in the entertainment underworld. The internet lost its collective mind when the studio announced that Colbert was attached as co-writer to a project no one asked for. The late-night host is currently wrapping up his 11-year run as the face of “The Late Show” and is bitter as hell on his way out, talking smack on President Trump and conservatives. His fifteen viewers will confirm that this is nothing new. But the rhetoric is even more vicious now that he’s got nothing to lose. And now, somehow, Colbert’s study of and professed love for Tolkien scored him a place at the writer’s table for “Lord of the Rings: Shadow of the Past.” Film director Peter Jackson dropped that bomb on fans last month. “You know what the books mean to me, and what your films mean to me,” Colbert told Jackson during the video announcement, attempting to justify his place in Tolkien’s realm. “But the thing I found myself reading over and over again were the six chapters early on in [‘The Fellowship of the Ring’] that y’all never developed into the first movie back in the day. It’s basically the chapter ‘Three Is Company’ [Chapter III] through ‘Fog on the Barrow-Downs’ [Chapter VIII]. And I thought, ‘Oh, wait, maybe that could be its own story that could fit into the larger story. Could we make something that was completely faithful to the books while also being completely faithful to the movies that you guys had already made?’” Colbert said that he and his son, screenwriter Peter McGee, have been working with Jackson on the project for two years. The show’s description says, “Fourteen years after the passing of Frodo, Sam, Merry and Pippin set out to retrace the first steps of their adventure. Meanwhile, Sam’s daughter, Elanor, has discovered a long-buried secret and is determined to uncover why the War of the Ring was very nearly lost before it even began.” Fans were shocked by Colbert’s inclusion, with one reaction summing up the overall feelings nicely. “Just because someone knows everything about another writer’s work doesn’t make them a writer. Or director, or anything even remotely related to making a film,” one Reddit user wrote. “They’ve essentially given the reins over to a fanfiction guy; this will be hot garbage.” The frustration is about Colbert, sure, but it’s also about trusting Hollywood to tread with care when handling a treasured, unapologetically Christian morality based project. Social media users joked about Colbert including DEI side quests and dancing syringes, which is technically possible from such a devoted progressive. However, even if the virtue signaling winds up being a little subtler, there’s still a lot of ways a late-night comedian can screw this up. For too long in Hollywood there’s been a lack of quality storytelling with timeless themes and impressive production value. Fans who wanted to be immersed in the story keep getting stuck with liberals writing the scripts. That all changed when DailyWire+ released “The Pendragon Cycle: The Rise of Merlin.” This adaptation of Stephen R. Lawhead’s bestselling novels blends historical elements of post-Roman Britain with the mythic tales of King Arthur and Merlin. This isn’t a cynical franchise cash-grab; it’s a genuine effort to reclaim what’s been lost long ago to woke Hollywood. Filmed in Italy and Hungary, the seven-episode first season premiered in January 2026. The reviews from fans prove that this is what the entertainment world has been missing. One viewer described it as “just as fascinating as Game of Thrones,” It has been praised for the storyline, the characters, the incredible sets, the thrilling stunts, and, crucially, the natural role Christianity plays in the narrative.  “Pulp Fiction” screenwriter Roger Avary said he was shocked by how much he loved the series. The Academy Award-winning producer told Joe Rogan during a podcast appearance in February that he had a “chip on his shoulder” when he started watching “Pendragon” and expected not to like it. But he was impressed not just with the quality, but with how it didn’t come from a major studio. “They did it on a microbudget, effectively. They made something that… kind of reinvents the mythology, and they do it like proper television, where you kind of love the characters, and they weave an entire reality and universe that is just fantastic. And it’s done for very, very little…” Avary added, “They’re spending billions making these ‘Lord of the Rings’ things, and nobody cares, they’re just awful to watch. In the meantime, these guys, without anyone paying attention, cranked this out…I am completely blown away by it!” Oscar-winning screenwriter @AVARY gives massive praise to ‘The Pendragon Cycle’ on @joerogan: “They’re spending billions making these ‘Lord of the Rings’ things…and they’re just awful to watch…In the meantime, these guys…cranked this out…I am like completely blown away… pic.twitter.com/guviJGswqe — Daily Wire (@realDailyWire) February 11, 2026 The world of Pendragon goes beyond the screen. DailyWire+ also launched an official Pendragon Cycle board game to go with it. This narrative-driven game of deduction drops players into the sacred isle of the Arthurian epic, where they race to uncover which character, location, and weapon holds the secret of the Grail.  Each character comes with a unique special ability to ensure genuine immersion in the Pendragon world. “The game is very entertaining. The theme of the show and mechanics of the game make you feel truly immersed in the world of the show,” one purchaser wrote. It’s no longer necessary for historical fantasy fans to consume the slop that Hollywood keeps dishing. On one hand, there are mainstream remakes rehashing what’s been done to make a buck and subvert timeless Christian lore. On the other hand, there’s an epic, character-driven piece of art that deserves all the high praise it received. If the Colbert announcement left you rolling your eyes, then it’s time to explore new realms and seek alternatives. All seven episodes of “The Pendragon Cycle: Rise of the Merlin” are streaming now on DailyWire+, and the immersive board game is available at the Daily Wire Shop.