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NEW YORK, Jan 22 (Reuters) – A federal judge will consider on Thursday actor Justin Baldoni's bid to dismiss actor Blake Lively's lawsuit accusing him of sexual harassment and waging a smear campaign in connection with their 2024 movie "It Ends With Us." Both sides are expected to make arguments at a hearing before U.S. District Judge Lewis Liman in Manhattan, after waging an acrimonious battle for more than a year that has transfixed Hollywood and involved names including Lively's husband Ryan Reynolds and longtime friend Taylor Swift. Lively, 38, accused Baldoni – who directed the movie – and his Wayfarer Studios of coordinating a scheme to silence her and others from speaking out about the hostile environment they allegedly created on the film's set. Thousands of pages of documents made public this week included Lively's claim that Baldoni, 41, pressured her unnecessarily to simulate nudity during a film scene where her character gave birth in a hospital. Also released this week were text messages between Lively and Swift, including a December 5, 2024, text message where the superstar singer likened Lively's and Baldoni's relationship to "a horror film no one knows is taking place." Lively is seeking unspecified damages for alleged harassment, invasion of privacy and violations of federal and state civil rights laws. A trial is scheduled for May 18. Lawyers for Lively and Baldoni were not immediately available for comment. BALDONI HAS SAID HE ADDRESSED LIVELY'S CONCERNS In seeking a dismissal, lawyers for Baldoni said he resolved Lively's concerns about sporadic misunderstandings and "awkward comments" on the film set, including over her physical appearance, as soon as she raised them. They also said Baldoni had a right to hire a crisis management firm to defend his reputation after Lively began disparaging him publicly. Lively's lawyers countered that the dispute concerned more than merely "minor annoyances fueled by creative differences." They said a jury should consider the alleged "toxic environment" where Baldoni and Wayfarer ignored numerous women's claims of being sexualized and marginalized, and then pursued a strategy of "deny" and "attack."  The dispute burst into public view in mid-December 2024 when Lively filed a complaint against Baldoni with the California Civil Rights Department, followed by her lawsuit, and a New York Times article titled: "'We Can Bury Anyone': Inside a Hollywood Smear Machine." Baldoni filed a $400 million countersuit accusing Lively and Reynolds of trying to destroy his reputation, but Liman dismissed that case last June.  The judge also dismissed Baldoni's related $250 million defamation case against the Times. "It Ends With Us" generated mixed reviews but grossed more than $351 million worldwide according to Box Office Mojo. (Reporting by Jonathan Stempel in New York, editing by Deepa Babington)

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NEW YORK, Jan 22 (Reuters) – A federal judge will consider on Thursday actor Justin Baldoni's bid to dismiss actor Blake Lively's lawsuit accusing him of sexual harassment and waging a smear campaign in connection with their 2024 movie "It Ends With Us." Both sides are expected to make arguments at a hearing before U.S. District Judge Lewis Liman in Manhattan, after waging an acrimonious battle for more than a year that has transfixed Hollywood and involved names including Lively's husband Ryan Reynolds and longtime friend Taylor Swift. Lively, 38, accused Baldoni – who directed the movie – and his Wayfarer Studios of coordinating a scheme to silence her and others from speaking out about the hostile environment they allegedly created on the film's set. Thousands of pages of documents made public this week included Lively's claim that Baldoni, 41, pressured her unnecessarily to simulate nudity during a film scene where her character gave birth in a hospital. Also released this week were text messages between Lively and Swift, including a December 5, 2024, text message where the superstar singer likened Lively's and Baldoni's relationship to "a horror film no one knows is taking place." Lively is seeking unspecified damages for alleged harassment, invasion of privacy and violations of federal and state civil rights laws. A trial is scheduled for May 18. Lawyers for Lively and Baldoni were not immediately available for comment. BALDONI HAS SAID HE ADDRESSED LIVELY'S CONCERNS In seeking a dismissal, lawyers for Baldoni said he resolved Lively's concerns about sporadic misunderstandings and "awkward comments" on the film set, including over her physical appearance, as soon as she raised them. They also said Baldoni had a right to hire a crisis management firm to defend his reputation after Lively began disparaging him publicly. Lively's lawyers countered that the dispute concerned more than merely "minor annoyances fueled by creative differences." They said a jury should consider the alleged "toxic environment" where Baldoni and Wayfarer ignored numerous women's claims of being sexualized and marginalized, and then pursued a strategy of "deny" and "attack."  The dispute burst into public view in mid-December 2024 when Lively filed a complaint against Baldoni with the California Civil Rights Department, followed by her lawsuit, and a New York Times article titled: "'We Can Bury Anyone': Inside a Hollywood Smear Machine." Baldoni filed a $400 million countersuit accusing Lively and Reynolds of trying to destroy his reputation, but Liman dismissed that case last June.  The judge also dismissed Baldoni's related $250 million defamation case against the Times. "It Ends With Us" generated mixed reviews but grossed more than $351 million worldwide according to Box Office Mojo. (Reporting by Jonathan Stempel in New York, editing by Deepa Babington)

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(Corrects title of Guy Ritchie's film to 'Viva La Madness', not 'Viva La Vida," in paragraph 10) By Hanna Rantala LONDON, Jan 20 ((Reuters)) – Jason Statham is back in action in "Shelter", but the British actor says his latest thriller is powered by his character's emotional arc.    "I haven't done anything like this. It feels very elevated in terms of the dramatic elements," Statham said, premiering the movie in London on Tuesday.    Statham plays Michael Mason, a former elite operative hiding out on a remote island in the Outer Hebrides. Accompanied only by his dog, Mason spends his days drinking, drawing and playing chess. An orphaned girl, Jesse (Bodhi Rae Breathnach), regularly brings him supplies on a rowboat, but is told to avoid contact.     When a storm breaks out during one of her deliveries, Mason rescues Jesse, setting off events that lead his past enemies on his tracks and forcing Mason to take action to protect the youngster.    The film is about "an improbable pairing" finding purpose in each other, said Statham. "It's certainly a slow burn."    That gradual crescendo helps audiences connect with the characters, said director Ric Roman Waugh, known for "Greenland" and "Angel Has Fallen".    "We're unravelling a mystery in a way that creates empathy, creates emotional bond, so that when you hit the action, you're not just watching it, you're participating, and you're rooting for your heroes," he said.    A former stuntman, Waugh wanted to place viewers "inside the action" and shoot on real locations.    "What you get is a wild ride that is authentic and grounded and gets us away from the visual effects world where nothing feels real anymore," he said. "Coming from the world of stunts, I'm trying to make you feel what I went through."    Statham, 58, has a busy year ahead. His other 2026 releases include "Mutiny" and "The Beekeeper 2" and he is about to reunite with filmmaker Guy Ritchie for their sixth feature collaboration, "Viva La Madness".    "I'm very excited about that. My main man Guy Ritchie, he started my career almost 30 years ago, so I owe him a lot. He's a mentor to me. He's a very special person in my life and I've got a lot of love for the man," said Statham, noting that shooting would start in a week but revealing no further details about the project.    "Shelter", which also stars Bill Nighy and Naomi Ackie, begins its global theatrical rollout on January 28. (Reporting by Hanna RantalaEditing by Shri Navaratnam)

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By Danielle Broadway LOS ANGELES, Jan 21 – Taylor Swift, 36, will become the second-youngest songwriter ever inducted into the Songwriters Hall of Fame, joining the ranks of Stevie Wonder, who was 33 when he was inducted in 1983, the organization announced on Wednesday. The honor places the pop superstar, winner of 14 Grammys, among the most celebrated songwriters across generations. Swift will be inducted alongside Alanis Morissette, Kenny Loggins and Kiss bandmates Paul Stanley and Gene Simmons, with the ceremony set for June 11 at the Marriott Marquis Hotel in New York City, the organization announced on CBS Mornings. "They've literally written the soundtrack to our lives. The songs we dance to, cry to and rock out to," culture correspondent Anthony Mason said on CBS Mornings before announcing the inductees.  Established in 1969, the Songwriters Hall of Fame requires that inducted songwriters have a notable catalog of songs to qualify for induction 20 years after the first commercial release of a song. The "Bad Blood" singer has won four Grammy album of the year awards. Her latest release, "The Life of a Showgirl," sold more copies than any other album in the modern era during its first week of release, according to Billboard, which cited data from Luminate, a firm that tracks music sales. In May 2025, Swift announced that she bought her music rights, officially reclaiming ownership of all her master recordings, including her first six albums. Later that year, Swift's record-breaking Eras tour spawned a concert film and a six-part documentary series that chronicles the success of the tour on Disney+. Her 2024 "The Tortured Poets Department" album, which debuted at No. 1 on the Billboard 200 album chart, sold the equivalent of 8 million albums in the United States, according to Luminate. (Reporting by Danielle Broadway and Sarah Mills; Editing by Howard Goller)

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By Danielle Broadway LOS ANGELES, Jan 21 – Taylor Swift, 36, will become the second-youngest songwriter ever inducted into the Songwriters Hall of Fame, joining the ranks of Stevie Wonder, who was 33 when he was inducted in 1983, the organization announced on Wednesday. The honor places the pop superstar, winner of 14 Grammys, among the most celebrated songwriters across generations. Swift will be inducted alongside Alanis Morissette, Kenny Loggins and Kiss bandmates Paul Stanley and Gene Simmons, with the ceremony set for June 11 at the Marriott Marquis Hotel in New York City, the organization announced on CBS Mornings. "They've literally written the soundtrack to our lives. The songs we dance to, cry to and rock out to," culture correspondent Anthony Mason said on CBS Mornings before announcing the inductees.  Established in 1969, the Songwriters Hall of Fame requires that inducted songwriters have a notable catalog of songs to qualify for induction 20 years after the first commercial release of a song. The "Bad Blood" singer has won four Grammy album of the year awards. Her latest release, "The Life of a Showgirl," sold more copies than any other album in the modern era during its first week of release, according to Billboard, which cited data from Luminate, a firm that tracks music sales. In May 2025, Swift announced that she bought her music rights, officially reclaiming ownership of all her master recordings, including her first six albums. Later that year, Swift's record-breaking Eras tour spawned a concert film and a six-part documentary series that chronicles the success of the tour on Disney+. Her 2024 "The Tortured Poets Department" album, which debuted at No. 1 on the Billboard 200 album chart, sold the equivalent of 8 million albums in the United States, according to Luminate. (Reporting by Danielle Broadway and Sarah Mills; Editing by Howard Goller)

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By Jaspreet Singh, Anhata Rooprai and Zaheer Kachwala Jan 21 (Reuters) – Nick LaFleur is one of many Americans who think a Netflix-Warner Bros tie-up might provide some relief from "subscription fatigue." The New York City resident has held on to a full poker hand of streaming services – Netflix, Disney+, Apple TV, HBO Max and Paramount+ – even as prices have risen steadily. Netflix on Tuesday switched its nearly $83 billion offer for most of Warner Bros to all-cash to keep Paramount at bay as the two compete for the company's coveted studio and content library. If successful, a Netflix-Warner Bros tie-up could bring the HBO Max streaming service under the same umbrella as Netflix.  LaFleur and others hope that might translate to smaller bills. "The trajectory of streaming prices, whether there is a merger or not, seems to be going up and up," said LaFleur, who works in tech communications. "I would imagine they would not just add the price of HBO Max to Netflix… my expectation is that I could get a discount."  Americans now pay for an average of 2.9 streaming subscriptions despite the rising costs, which now come to $552 a year, according to a Forbes Home survey of 1,000 people published in November. As of June, most HBO Max subscribers had a Netflix subscription – 94%, in fact, according to Bernstein analysts, while 38% of Netflix users had HBO Max. A tie-up could revive streaming's early promise of "everything under one roof" before studios yanked their content to launch rival services.  The downside? The deal could stifle competition and erode HBO's reputation for prestige programming that currently exceeds Netflix's, experts say.  "IT'S A PAIN TO MANAGE SUBSCRIPTIONS" The proliferation of streamers has swamped consumers with content, similar to hundreds of unwatched channels offered by cable TV when the industry was at its peak. About 72% of U.S. consumers said streaming bundles offer better value, while 63% say they feel overwhelmed by the options, according to a Mintel survey of nearly 2,000 people last August. "It's a pain to manage subscriptions," said Orlando-based Frank Weaver, who resorted to buying an app to track them and has canceled some services because of the cost. A report last year from industry tracker Antenna showed the recently introduced discounted bundle of Disney+, Hulu and HBO Max retained 80% of its subscribers after three months, stickier than any of the standalone services. NETFLIX FORMS THE BASIS OF VIEWING PACKAGES For many viewers, Netflix, the global streaming leader with 325 million subscribers, forms the basis of any viewing package.  About 78% of customers chose the service when building a hypothetical custom bundle, placing it ahead of Disney+, Paramount+ and HBO Max, according to a Forrester Research survey of more than 400 adults in the U.S., the UK and Canada published last year. Part of Netflix's argument in its bid for Warner Bros was that the combination may lower costs for consumers and ease regulatory fears, Reuters reported last year. Netflix's standard plan is priced at $17.99 a month, while HBO Max's equivalent tier costs $18.49 and Paramount+'s ad-free Premium plan costs $13.99, according to the companies' websites.  DOING THE OPPOSITE? Netflix scrapped its cheapest ad-free plan, called basic, in 2023, leaving consumers with its more expensive premium and standard plans, as well as the standard plan with ads. The premium plan now costs $24.99 a month, up from $19.99 in 2022, while the standard ad-free plan's price has gone up by more than $2 to $17.99 in the period. Lawmakers have warned that the Netflix-Warner Bros combo could give the combined firm outsized bargaining power. Experts say this could lead to fewer choices, giving Netflix more power to raise its rates, spend less on the kind of quality shows offered by HBO, or both. "Whether the winning bidder is Netflix or Paramount, the worry is whether they will be positioned to pay less for content," said Bill Baer, a visiting fellow at the Brookings Institution and former U.S. assistant attorney general for antitrust under President Barack Obama. "That likely would diminish both the number and the quality of programming and the number of people willing to invest in the creative process." (Reporting by Jaspreet Singh, Zaheer Kachwala, Anhata Rooprai and Harshita Varghese in Bengaluru; Writing by Aditya Soni; Editing by Anil D'Silva)

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By Jaspreet Singh, Anhata Rooprai and Zaheer Kachwala Jan 21 (Reuters) – Nick LaFleur is one of many Americans who think a Netflix-Warner Bros tie-up might provide some relief from "subscription fatigue." The New York City resident has held on to a full poker hand of streaming services – Netflix, Disney+, Apple TV, HBO Max and Paramount+ – even as prices have risen steadily. Netflix on Tuesday switched its nearly $83 billion offer for most of Warner Bros to all-cash to keep Paramount at bay as the two compete for the company's coveted studio and content library. If successful, a Netflix-Warner Bros tie-up could bring the HBO Max streaming service under the same umbrella as Netflix.  LaFleur and others hope that might translate to smaller bills. "The trajectory of streaming prices, whether there is a merger or not, seems to be going up and up," said LaFleur, who works in tech communications. "I would imagine they would not just add the price of HBO Max to Netflix… my expectation is that I could get a discount."  Americans now pay for an average of 2.9 streaming subscriptions despite the rising costs, which now come to $552 a year, according to a Forbes Home survey of 1,000 people published in November. As of June, most HBO Max subscribers had a Netflix subscription – 94%, in fact, according to Bernstein analysts, while 38% of Netflix users had HBO Max. A tie-up could revive streaming's early promise of "everything under one roof" before studios yanked their content to launch rival services.  The downside? The deal could stifle competition and erode HBO's reputation for prestige programming that currently exceeds Netflix's, experts say.  "IT'S A PAIN TO MANAGE SUBSCRIPTIONS" The proliferation of streamers has swamped consumers with content, similar to hundreds of unwatched channels offered by cable TV when the industry was at its peak. About 72% of U.S. consumers said streaming bundles offer better value, while 63% say they feel overwhelmed by the options, according to a Mintel survey of nearly 2,000 people last August. "It's a pain to manage subscriptions," said Orlando-based Frank Weaver, who resorted to buying an app to track them and has canceled some services because of the cost. A report last year from industry tracker Antenna showed the recently introduced discounted bundle of Disney+, Hulu and HBO Max retained 80% of its subscribers after three months, stickier than any of the standalone services. NETFLIX FORMS THE BASIS OF VIEWING PACKAGES For many viewers, Netflix, the global streaming leader with 325 million subscribers, forms the basis of any viewing package.  About 78% of customers chose the service when building a hypothetical custom bundle, placing it ahead of Disney+, Paramount+ and HBO Max, according to a Forrester Research survey of more than 400 adults in the U.S., the UK and Canada published last year. Part of Netflix's argument in its bid for Warner Bros was that the combination may lower costs for consumers and ease regulatory fears, Reuters reported last year. Netflix's standard plan is priced at $17.99 a month, while HBO Max's equivalent tier costs $18.49 and Paramount+'s ad-free Premium plan costs $13.99, according to the companies' websites.  DOING THE OPPOSITE? Netflix scrapped its cheapest ad-free plan, called basic, in 2023, leaving consumers with its more expensive premium and standard plans, as well as the standard plan with ads. The premium plan now costs $24.99 a month, up from $19.99 in 2022, while the standard ad-free plan's price has gone up by more than $2 to $17.99 in the period. Lawmakers have warned that the Netflix-Warner Bros combo could give the combined firm outsized bargaining power. Experts say this could lead to fewer choices, giving Netflix more power to raise its rates, spend less on the kind of quality shows offered by HBO, or both. "Whether the winning bidder is Netflix or Paramount, the worry is whether they will be positioned to pay less for content," said Bill Baer, a visiting fellow at the Brookings Institution and former U.S. assistant attorney general for antitrust under President Barack Obama. "That likely would diminish both the number and the quality of programming and the number of people willing to invest in the creative process." (Reporting by Jaspreet Singh, Zaheer Kachwala, Anhata Rooprai and Harshita Varghese in Bengaluru; Writing by Aditya Soni; Editing by Anil D'Silva)

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LONDON, Jan 21 (Reuters) – Young talent led nominations for the BRIT Awards on Wednesday, with singers Olivia Dean and Lola Young receiving five nods each for Britain's pop music honours. Young, 25, was recognised for artist of the year, breakthrough artist, alt/rock act and pop act, while her chart-topping hit "Messy" is up for song of the year. Dean, 26, is also a contender in that category with two tracks "Man I Need" and "Rein Me In", a collaboration with rocker Sam Fender. She is also nominated for artist of the year, pop act and album of the year for her record "The Art of Loving".  Fender, 31, has three additional nods: artist of the year, alt/rock act and album of the year for "People Watching". Rappers Dave and Jim Legxacy, singer Lily Allen and producer Fred again… have three nominations each.  “It’s fantastic to see British talent doing so well across the board, especially a next generation of brilliant artists who have broken through with such impact on the global stage in the past 12 months led by Olivia Dean, Lola Young, Sam Fender, PinkPantheress, Skye Newman, among others," Jo Twist, chief executive of the BRITs organisers, the British Phonographic Industry, said in a statement. Around 70% of the nominations feature women and non-binary people as solo artists or in mixed groups, organisers said, adding that was "the highest representation of women and non-binary people yet". British band Pulp, who found fame in the mid-1990s Britpop wave, are in the running for group of the year, their first nomination since 1996. The band topped the charts last year with "More", their first album since 2001. Movies were also recognised with actor Cynthia Erivo nominated for song of the year for her rendition of "Wicked" track "Defying Gravity", while "Golden", from Netflix phenomenon "KPop Demon Hunter", is up for international song of the year. This year's BRIT Awards will be held in the northern English city of Manchester on February 28. (Reporting by Marie-Louise Gumuchian, Editing by William Maclean)

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LONDON, Jan 21 (Reuters) – Singers Olivia Dean and Lola Young led nominations for the BRIT Awards on Wednesday, receiving five nods each for Britain's pop music honours. Below is a list of the nominees for this year's awards, which will be handed out at a Manchester ceremony on February 28. MASTERCARD ALBUM OF THE YEAR ARTIST OF THE YEAR SONG OF THE YEAR GROUP OF THE YEAR BREAKTHROUGH ARTIST INTERNATIONAL ARTIST OF THE YEAR INTERNATIONAL GROUP OF THE YEAR INTERNATIONAL SONG OF THE YEAR ALTERNATIVE/ROCK ACT POP ACT HIP HOP, GRIME, RAP ACT R&B ACT DANCE ACT (Reporting by Marie-Louise Gumuchian; editing by Barbara Lewis)

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By Zaheer Kachwala Jan 21 (Reuters) – Netflix's co-CEOs found themselves in an unusual position after the company's latest earnings report: on the backfoot. The streaming pioneer's decision to plunk down nearly $83 billion on Warner Bros' assets marks a significant departure from the company's long-standing mantra: build, don't buy. Investors still aren't buying it. Shares were already under pressure even before Netflix made an offer for Warner Bros Discovery's studio and streaming assets. The stock, which has lost more than 15% since Netflix made its first offer on Dec. 5, was down nearly 4% in early trading on Wednesday as co-CEOs Ted Sarandos and Greg Peters found themselves having to explain their aggressive push that has forced them to suspend share buybacks. Sarandos noted how tech giants such as Alphabet's YouTube had changed what television viewing meant, forcing Netflix to change tack to keep up. The two said they had not expected to make an offer for the Warner assets when they first started the due diligence process.  "When we got into the hood, there were several things we saw that were just really exciting," Peters said. Netflix is trying to stay ahead of Paramount Skydance with its $82.7 billion all-cash offer for Warner Bros' film and television studios, its extensive content library and major entertainment franchises – including "Game of Thrones" and "Harry Potter." "We have often in our Netflix history debated building a theatrical business, but we were busy investing in other areas, and it never became our priority. But now with Warner Bros, they bring a mature, well-run theatrical business with amazing films, and we're super excited about that addition," he said, in a reversal of Netflix's former position that theaters were an outdated model with audiences preferring stay-at-home streaming.  "And then you get to the streaming side of things, HBO. It is an amazing brand. It says prestige TV is better than almost anything. Customers know it. They love it. They know what it means," Peters said, adding that Warner's television studio was also a healthy business and complemented Netflix's own, expanding its production capability. INVESTORS ARE NOT CONVINCED With the expensive deal hanging over its head, Netflix delivered a tepid revenue beat for what is usually one of its strongest quarters, and forecast equally dull prospects for the new year.  While a strong content line-up, including the final season of hit sci-fi series "Stranger Things," helped revenue growth, high costs associated with the Warner Bros acquisition have made people apprehensive about the long-term payoff, analysts said.  Netflix said previously that it had obtained commitments for a $59 billion bridge loan to support the Warner Bros' deal. On Tuesday, it increased the bridge loan commitment by $8.2 billion to support its all-cash $27.75 per share offer. The deal is expected to face considerable scrutiny from lawmakers and competition regulators as high-profile acquisitions threaten to monopolize the market and leave consumers with fewer choices.  But Sarandos on Tuesday moved to ease those concerns by reiterating the deal would be "pro-consumer" and "pro-worker", and that the acquired businesses would require new teams and would allow more opportunities for creatives.  The deal "allows us to gain access to 100 years of Warner Bros deep content and IP for development and distribution in more effective ways that will benefit consumers and the industry as a whole," he said. (Reporting by Zaheer Kachwala in Bengaluru; Editing by Sayantani Ghosh and Anil D'Silva)

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