Jenny Slate Pulls Back Hollywood Curtain with Scathing Texts About Justin Baldoni

20 January 2026

When unsealed court documents from the legal controversy surrounding the film It Ends With Us hit newsstands on January 20, 2026, the public was confronted with an unexpected and sharply candid side of actress Jenny Slate. In a series of private text messages from June 2023, Slate did more than voice mild frustration with a co-worker. She unleashed a withering critique of co-star and director Justin Baldoni, characterizing her experience on set as “really gross and disturbing” and labeling Baldoni himself a “fraud”, a “false ally” and “the biggest clown and the most intense narcissist.” These messages, now part of the official record in a lawsuit that has captured Hollywood attention, paint a portrait of deep discomfort and professional disillusionment that extends far beyond the typical behind-the-scenes grumbling of a film production.

Slate’s remarks emerge amid the broader legal battle initiated by Blake Lively, the It Ends With Us lead, who filed a complaint in late 2024 alleging sexual harassment and retaliation against Baldoni and executives at Wayfarer Studios. Baldoni has denied those allegations and countersued, though his countersuit was dismissed in 2025; the underlying case is scheduled for trial in May 2026. The unsealing of texts from multiple parties, including Slate’s messages, has added layer upon layer of explosive detail to a dispute that has already strained professional relationships and drawn widespread media scrutiny.

According to the texts made public, Slate expressed clear unease with both the atmosphere on set and specific interactions with Baldoni. In one exchange, she told her team unequivocally that she did not want to engage with Baldoni in any professional context, including promotional appearances. She described the set environment as “really gross and disturbing”, suggesting that her own experience was far from isolated. Slate also indicated that both she and Lively had formally complained to studio officials about issues during filming, implying that concerns about conduct had been raised internally before reaching the public sphere.

Slate’s characterization of Baldoni as a “false ally” is particularly notable given his public image at the time. Baldoni had cultivated a reputation in Hollywood as a progressive voice and a self-proclaimed male feminist. Slate’s contrast between that image and her private assessment is striking. She stated in her messages that she was unwilling to participate in promoting the image Baldoni was crafting for himself, implying that public perception and behind-the-scenes reality were misaligned. Her blunt language, which included calling Baldoni a fraud and a narcissist, underscored how starkly her private views diverged from his cultivated persona.

The unsealed texts also reveal that Slate felt constrained from directly confronting Baldoni about his behavior at the time, noting that his leadership role on the film made it difficult to address concerns in the moment. This dynamic where perceived power imbalances in creative environments intersect with concerns about professionalism has become a central theme in discussions about Hollywood workplace culture in recent years. Slate’s messages give voice to that dynamic in a way that is unfiltered and uncompromising.

While Slate’s comments are just one element of the broader legal conflict, they have swiftly become a focal point in media coverage and social media conversations. The public reaction has been intense, with fans and commentators dissecting every phrase, interpreting Slate’s words both as personal revelation and as broader commentary on power and conduct in the entertainment industry. For some, her candor has been empowering, a rare example of a major star breaking ranks to speak with unvarnished honesty about her experiences. For others, the language and intensity of her statements have raised questions about the nature of personal disputes being played out in public.

Baldoni’s team has not offered detailed public responses to Slate’s remarks, and representatives for both parties have been largely silent in the media. Legal filings and courtroom proceedings remain the primary arenas where the deeper disputes are being hashed out. But the mere fact that such private communications are now part of the public record reflects how deeply the case has cut into Hollywood’s public sensibilities, drawing in friends, co-stars and extended networks of collaborators whose reputations and relationships are now subject to scrutiny.

In addition to reflecting the personal dynamics of this specific production, Slate’s messages also feed into larger cultural conversations about workplace conduct, consent and the boundaries of professional relationships in creative spaces. The entertainment industry has grappled for years with how to balance artistic collaboration with respect for personal autonomy and dignity, especially in high-pressure environments where hierarchies and performance demands can blur lines. Slate’s commentary, raw and unedited, has reignited those discussions in a way few other events have this year.

As the trial between Lively and Baldoni approaches, the significance of Slate’s unfiltered words may extend beyond mere gossip or celebrity drama. They add dimension to a narrative that questions not only individual behavior but the very structures that govern how films are made, how disputes are resolved and how reputations are protected or dismantled. Whether Slate’s blunt assessments will have legal impact remains to be seen, but they have already left an indelible mark on the public perception of the case.

In the end, the saga surrounding It Ends With Us, its cast and its director is more than a tabloid curiosity. It is a cultural flashpoint that touches on art, power, gender, professionalism and the ways in which private words can become public currency in an era where every message might be unearthed and interpreted by millions.