Lively v. Baldoni 16 - An Increasingly Aggressive and Erratic Effort to Control the Production

Transcript

This transcript was generated automatically and may contain errors — the audio is the record.

0:00:25 Thomas: Hello and welcome to Gavel Gavel. This is episode 16. I'm Thomas Smith. That's Lydia. How you doing?

0:00:31 Lydia: I know, I'm doing pretty well, actually. I'm excited to get into some of the stuff we're going to be talking about today. I know it was kind of a shock to everybody that when ended the last episode, we got through the introduction and thought we could, get you to the causes of action no, we had to stop in the facts common to all causes of action section and they're obviously different than the material in the introduction so instead of a singular story we had a story that was spread across sections and we're going to keep going through this second part of the story that could have all been, I think, with a lot clearer in the complaint.

0:01:06 Thomas: I know, there's a family guy joke I love where I there was a cutaway to like a flashback or whatever. It's just Lois is getting ready for a night out and she's wearing a you know. And then Peter comes in and he's wearing the same dress and he goes, well, one of us is going to have to change.

0:01:25 Thomas: And I feel that way about the introduction and slash the second iteration. I feel like they're both like, well one of them is going to have to change. Yeah, one you should change. In the last episode, we just started on the new repeat part. Like you said, I mean, we really thought that part was just duplicative and then turned out it wasn't enough.

0:01:44 Thomas: It's the most annoying possible way to do it. So we have to go back over everything that's slightly different with a few new things.

0:01:51 Lydia: Like, keep in mind, like the things that we've already talked about. So

0:01:54 Thomas: This is why this has been hell to try to get these out. It'S just so confusing. Like there's so much stuff, but the intro could have been so short, like make the intro part nice and quick, punchy couple things, and then then put everything

0:02:04 Lydia: That's literally the word I was thinking of. Yeah?

0:02:06 Thomas: In the second part that we're now on, you it's just frustrating.

0:02:10 Lydia: The first part is like, that needs to be attention grabbing, right? Your hook and get people to want to read more for the legal complaint.

0:02:17 Thomas: Emojis. Some say they date back to prehistoric times, you know, just talk about them.

0:02:23 Lydia: And focus on your strongest points right like get the people on your side from the very beginning if they're going to start at the very begining um then when you get to the section that we've been spending time on now that we're going continue spending time on for the next couple episodes um let's dig into the details the

0:02:38 Thomas: And I gotta say we're getting into, we are though, we're getting into some good stuff here. It's so weird to be like part repeat and part not, but that's what it's going to be. We're on paragraph 59 is where we're going to start off and let's see what were we kind of in the middle of when we left off wardrobe stuff just

0:02:42 Lydia: Are. We are were talking about some early production situations that were happening. Yeah, that was happening on the ends with us film set, specifically the wardrobe situation and the paparazzi snapping pictures away. Way when Lively was in one of her costumes for the movie and Baldoni responding that and spending some time in her trailer. Lively characterized it as hours of crying she didn't look sexy enough. And Baldoni is characterizing it as that he felt like he could open up and be vulnerable with her about like the pressure.

0:03:25 Thomas: Well we're gonna get more into that and uh other miscellaneous like -production stuff uh that's where we are and so we'll uh take our usual break and then we'll get right into it so So support the show, patreon .com slash gavel pod. That's where you can find way more episodes than you've likely heard yet. If you're hearing this now and you're not a patron and other stuff and you don't have to hear the ad that's going to happen right now. Read 59 lively later leveraged this conversation in support of her allegations of harassment alleging that baldoni made inappropriate comments on her appearance in reality baldoni was relaying the distributor's concerns and the widespread social media criticism regarding the wardrobe's failure to meet audience expectations, a sentiment Baldoni shared. Incident marked the beginning of a troubling pattern of manipulative behavior by Lively. Now, that I don't believe. Yeah. I noted early on before even reading this was that when the legal standard is that you need a pattern of sexual harassment, you're going to look for the pattern. And that's just how it's going to be. I don't actually believe there's anything fundamentally or dishonest about it all to paper. The things you think are part of the pattern, because honestly, the deck is stacked against against you when you're trying to prove sexual harassment in a lot of ways. And you're going to throw all of what you think was part of the pattern. And if five things weren't, but 10 things were, then it's like, yeah, then you were sexually harassed and you said, here's what I thought was the pattern, and you were largely correct that you were sexual harassed, even if some things maybe had an innocent explanation. I think people

0:05:04 Thomas: Would use those five things to totally discount Blake Lively as a person. And I'm saying, well, wait, if the overwhelming weight of evidence is this guy was sexually harassing her, then that's kind of like neither here nor there. Like she's going to try to say all the things she thinks were part of that pattern. Someone's really wronging you and then you're also like, and they did this and like one of the things you say is is wrong. Okay. You know, like I think it's a tactic to, home in on one thing and try to totally discount someone's experience because of one inaccuracy. In my mind, I I think she's kind of wrong on this one probably. Free to have different opinion. That's okay. But like, I I, don'T think that changes like the weight of the evidence. Cause there's all this other stuff that isn't addressed was, was the point I was going to make about the bigger picture. Stuff about the like that's really interesting because I feel like there she's likely way in the right. Because I think there's a reason, I think There's good reason that, and we'll get to it actually later in this complaint, that Ryan Reynolds ripped this guy to shreds. I don't think that celebrity like Ryan Reynolds, who's as successful as he is and has, you know, is connected and is like made those connections, meaning he's not like a crazy person. He seems to be, you

0:06:13 Lydia: Liked.

0:06:13 Thomas: Going up. Yeah. Well, like going about his job. Well, in general, I don'T think he totally loses his shit at a guy like this for nothing. I feel like there's things that he for sure knows happened and this one was a dud, but the thing about the trainer and the weight and the other stuff and, and the, just the overall general, vibe of the guy and like all this other stuff, like there there's reasons he was mad. There's reasons she got lawyers involved and and Baldoni agree to stop doing this stuff before she would come back like this doesn't come out of nowhere and I think the we're gonna run into is for whatever reason be it um or being just plain wrong I think people to choose the other thing they like to say oh no the New York Times was they just wanted to to be mean to Baldoni. They just want to write something that's wrong in order to, you know, it's like, that's stupid. They saw the documents. Am of the opinion that if the New York times wrote the article from this perspective, there's a whole bunch of shit we didn't see that. Plus some, we did that corroborates it that cause that's how people work. What I'm saying. That's how New York Times journalists work. You, you present them with a bunch of evidence and if it's total nonsense, they'll be like, yeah, sorry, sorry, I'm not going to write a thing that's wrong. I'm just not doing that. Generally how it works. Same goes with this Ryan Reynolds interaction I'm talking about. Same goes for the fact that she got lawyers involved to drop this document. With how many places she said it wasn't even her. Put the whole focus on Blake. Are other people involved who said that the things Baldoni was doing was gross.

0:06:42 Lydia: She would come back. Mm hm. Yeah yeah. That they were uncomfortable.

0:07:41 Thomas: When he starts to say it's a manipulation tactic. I don't, I say that I could see, and there's an extent to which after I read this complaint, I do think there's, a extent to it's possible a lot of this did did get out of control in terms of the hostility developing that maybe it didn't need to, you know, I think that for one, we already mentioned that reporter saying, oh, and she said he's sexually sexually abused or whatever, you know, uh, assaulted her like that fucking guy. Maybe that guy started a lot of this problem. Like if, if someone got them to believe or him or them to believe that, Blake that Lively was telling people that he sexually assaulted her, which they seem to believe based on their texts. Going to create a lot of ill that will, and that's going to cause him to think he's in the right and she's, you know nuts. I think there can be these interactions that, um, again, I'm not speaking about the entirety, but I think there are elements within this that were probably miscommunications, misunderstandings. Think she was trying to weaponize something here a little bit that who knows? I mean, maybe maybe there'll be more we'll see about this. Yeah, it never made sense to me, to be honest. And

0:08:05 Lydia: Assaulted. Yeah yeah.

0:08:41 Thomas: I think that this one might be her trying to. Who knows. Honestly, And maybe he did say some stuff that kind of sucked. And the general vibe she got was like, ugh, this guy. She didn't like how he went about it. Who knows? Or maybe she's sensitive because it's her wardrobe. And be honest, if you were making wardrobe choices and the paparazzi did a bunch of pictures and people were like, this looks like fucking shit, yeah, you're going to honestly be pretty upset. Like, maybe not thinking rationally and maybe getting defensive and, you know?

0:09:07 Lydia: So a couple things I want to kind of clue in on this idea like that it was a manipulation tactic and And like the language around that, I think, is incredibly sexist that women are, you know, they say what they say to manipulate a man, you know, like I just it's so rooted in misogyny. So just being like mindful of that and that what often happens is that women are saying what they're saying to help protect themselves, to make the environment more comfortable for everybody.

0:09:22 Thomas: That's silly. -hm. Yeah protect the men's feelings well oftentimes

0:09:37 Lydia: Yeah, exactly. Exactly. And so they it might be, I guess, manipulating the environment to be a more comfortable one for everybody. But it's not about manipulating the other person. That's that's the patriarchy. Then the other point I want to make is, you little bit later in this timeline, when we haven't talked about it yet, there is a voice memo that is released where it's it's seven minutes and so if folks have heard that I don't think it's unreasonable to think that like okay this conversation probably went on way longer than it needed to he probably put his foot in his mouth several times like like and praised himself and you're coming into this with having been exposed to that I dont think it is unreasonable reasonable to say that that conversation was probably a mess in the trailer. But we'll in that.

0:09:55 Thomas: God we'll get to that yeah yeah and praised himself a bunch of different ways yeah we considering his we already have evidence of like his own people are often like boy this fucking guy like we've seen that right like yeah this is kind of he's full of himself yeah totally um and I agree on especially on the manipulation I think that that's an easy way to cast her as doing something when you see all kinds of his texts where he's being a fake piece of shit in my opinion like I overly sensitive to that I I probably couldn't talk to this guy for more than four seconds without just hating it and wanting to die like and and honestly the same might go for her because I just I don't like fakeness at all I'm just really sensitive to that and when he's doing it oh it's his way of trying to make things work out and he's being he's trying

0:10:28 Lydia: It's a bit much. It's a little bit too much. Yeah. Yeah. Yeah, exactly.

0:10:59 Thomas: To be nice in order to get his way when she's doing its manipulation tactic it's like no I I actually probably think that she maybe did do something like praise his work in an effort to like get kind of using her emotional intelligence to try to get her way here yeah that might be but it's not like manipulative no you're doing that all the time like baldoni especially is all the Time like blowing smoke saying all these little things like you could call that manipulation if you wanted to or are they both just celebrities trying to kind of get their way in a creative conversation, uh, and a little bit of butting heads.

0:11:03 Lydia: Know. Yeah.

0:11:30 Thomas: Yeah. Like that's, is what it is. That's not anything for a legal complaint. Silly. But anyway, okay. Spent way too much time on that.

0:11:29 Lydia: Battle of ego. Mm hmm. Yes.

0:11:38 Thomas: Now we get to Lively begins rewriting the script. Okay. Is interesting because this actually wasn't really anywhere in the previous thing we did, um, the previous part of this complaint yeah so don't you read paragraph 60 for us

0:11:47 Lydia: This is kind of the first first during a red carpet interview at the New York City's celebrity premiere of the film Lively stated: The iconic rooftop scene my husband actually wrote it nobody knows that by you now this revelation came as a surprise to the film's credited screenwriter who when later interviewed graciously responded quote so if I'm being told that ryan wrote that then great how wonderful the screenwriter further acknowledged quote there were a few little flourishes that I did not write and if those flourishes came from ryan I think that's wonderful this was also the first time plaintiffs learned that reynolds who had no formal role in the film's production made unauthorized changes to the script in secret there's

0:12:28 Thomas: Wait another place where I will say that I think blake gave a weird interview I watched this interview and I think it's weird um think it's putting your foot in your mouth a bit to say oh my husband actually wrote it and what she means to say is that oh he came up with the bit about the chair maraschino cherries or whatever and And this was probably them when they were spitballing, when they were kind of working out stuff together. I think in any other circumstance, every, literally everyone involved would say, cool, that's great. Right? I mean, like in any Other Time, any Another Time, there is no feud here. Pretend we're just talking about this, this exact move. Keep everything else the same. There's there's an interview where you say, yeah, you know, you know, my husband, the other superstar. Yeah. I got his help in bit in one of my lines here where I said, you know is the cherries and it was funny. People liked it and everyone involved, including the director, the producer, the people making zillions of dollars on this would say, awesome. Right? I mean, this is, this is nothing. This is absolutely nothing, but I will grant that it's weird that she said it that way. Okay. In that because I we will later see some interesting things about this interaction with the screenwriter, but that's later. That's not in this complaint. I think she put her foot in it a little bit by saying my husband wrote it. I think that's not good. You don't want to claim somebody wrote something and then you're kind of taking credit away. I would think that blake maybe owes this writer a bit of an apology and we can follow up on that later um to do with what I is what does any of this have to do with this complaint at in

0:13:59 Thomas: Any way in any way and furthermore I think it's funny that like the the way he characterized well the screenwriter parentheses who was obviously pissed you know like just deciding writing, how she felt, said, graciously responded. It's like, well, no, I mean, I read that interview and I don't know, I took it for face value. It was like, oh yeah, no. If he wrote that, that's cool. A little flourish. Like she knows her strip. She know that there's a few lines that weren't in there. Already knows that she didn't think, oh, did I accidentally write new lines in my sleep? No, she knows they're not in there, she, she thought it's improv. She probably takes this as like, well, it was weird that she said my husband wrote it like, yeah, I would I would bristle at that. I think she's totally she's within her rights to privately be a little bit annoyed with Blake Lively for that. Like, hey, come on. Don't

0:13:59 Lydia: New york times yeah yeah graciously responded yeah thought it was improvised yeah yeah

0:14:41 Thomas: Say your husband wrote. That's nothing the fuck to do with any of this. Yeah, that's a private interaction that is now somewhat public that we can follow up on later and see how that interaction between those two human beings. One of whom I think put her foot in her mouth in an interview and other who's, you know, seemed pretty cool about it. We could follow up on that little interaction between two human beings. Has nothing to do with anything later. Later uh wanted to also say Lassen's, the who had no formal role in the film's production, made unauthorized changes to the script in secret. That's not, you didn't, didn't change the script. Baldoni's an idiot he knows that these words that they said were not in the script like he knows That already and they they published that that's

0:14:44 Lydia: The whole scene I

0:15:23 Thomas: They went with it they did it yeah well and he directed the scene he's in the scene it's not a scene between other people he's part of the scene He knows it happened and he's like cool I'm good with that scene it's not unauthorized it doesn't matter if she got an idea from somebody else and threw it up it's just stupid

0:15:23 Lydia: He had a draft. He had a draft before and then he yeah. Also well that that's it. I mean we've seen text messages where she's like hey I'm going to send over my notes on these pages. Let me know what you think of the changes like these are things that are run by him in advance. Him agreeing to shoot with that script.

0:15:54 Thomas: So to your point either it was one of those things or it was an improv that she kind of remembered just verbally from from reynolds and her and her practicing and yeah whatever you know like who cares um but it goes on to say she began altering the script daily herself which again he's director oh the frequency of lively's revisions alarmed the producer's director and the studio him he's the director uh anticipated that her interference would persist every day of the the shoot and that's in quotes okay and disrupt the production schedule each shooting day was already intricately planned and her constant changes introduced significant stress on the production crew and financial financial strength okay there's no proof of this we have nothing on this yeah

0:16:03 Lydia: He yes anded. Proof of text messages where they're like, oh, oh, we're changing things again. Right. Like that. That is clear that there were changes happening. And it seemed like at least one producer was getting kind of tired of it. There is no indication of like, OK, what did that actually do to the budget? What

0:16:51 Thomas: The shooting got done and the writer strike and all that happened like

0:16:58 Lydia: Know. Yeah, keep in mind, they navigated two strikes during production.

0:17:02 Thomas: Yeah, this is probably the least of their worries. And I think they did a lot of this stuff in the interim. And, again, if not, okay, this was a creative dispute. This kind of shit happens every single day with men. We don't care. Nobody cares. It matter.

0:17:13 Lydia: Your agents fight it out.

0:17:14 Thomas: Yeah, this is where, where kind of puts in the Ryan Reynolds, you know, thing that I said. So, however, it's kind of interesting. He just like shoehorns

0:17:22 Lydia: Has nothing to do with the rest of this paragraph.

0:17:28 Thomas: It He says, however, just weeks prior, Lively's husband, Ryan Reynolds, had aggressively berated Baldoni during a meeting at their penthouse in New York, accusing him of fat shaming Lively. Baldoni, in an effort to avoid further confrontation with Lively and Reynolds and rebuild rapport with his co -star, continued to bend to her will.

0:17:43 Lydia: Okay, now there's a comma there between Lively and Baldoni that I know is a comma. I'm looking at it. I've moved the dust off of my computer screen. Be a period. Just weeks prior, Lively's husband, Reinald Reynolds, there's the comma. There's a lot of commas in this sentence.

0:17:56 Thomas: You're right. No, that should

0:17:56 Lydia: Yeah?

0:17:56 Thomas: Be. Yeah.

0:17:57 Lydia: Had Had aggressively berated Baldoni during a meeting at their penthouse in New York, accused him of fat shaming. Lively. Period. Baldoni in an effort.

0:18:04 Thomas: Should be a period after Lively, youre right. Yeah should yeah

0:18:06 Lydia: You. Like, that sentence belongs in paragraph, the beginning of paragraph 62. To intro this next piece, it does not belong.

0:18:14 Thomas: I think I think you need to read this paragraph okay

0:18:16 Lydia: Yeah. Paragraph 62. Reynolds and Lively's inappropriate and humiliating berating of Baldoni, delivered perhaps intentionally as other celebrity friends were coming in and out of their penthouse, was prompted by Baldoni's reasonable inquiry into crucial information needed to ensure safety and avoid injury in a scene. While training for a physically demanding scene in which his character Ryle would lift Lily asked his trainer who was introduced to him by Lively and oversaw his training for the film how much Lively weighed. Aid. Baldoni, who suffers from back issues and has multiple bulging discs, made the inquiry to ensure he could safely perform the lift without injury. Unfortunately, the trainer relayed this information to Lively, who then informed Reynolds. The confrontation that followed was so aggressive that Baldoni felt compelled to offer repeated apologies, despite his question being entirely reasonable and made in good faith. Following this incident, Lively refused to perform the lift scene, even though it had already been rehearsed with the stunt double. There's a lot here. Couple little fact checking things. My understanding, the, you know, asked his trainer who was introduced to him by Lively and oversaw his training for the film. That is not accurate. Hear it um trainer was introduced to him by lively and offered him like here's like a you know my suggestion for a plan essentially like that but um not that he trained him during the film he's credited as lively's trainer um has explicitly said that he did not work with justin baldoni like after that conversation uh was not working with him anymore yeah um thing here very very minor note but um I believe the only other individual that was alleged to have been part of this at Ryan Reynolds and Blake Lively's place is Taylor Swift I don't think that it's

0:18:34 Thomas: Interesting

0:19:59 Lydia: Multiple celebrity friends coming in and out I believe the only person otherwise was taylor oh

0:20:05 Thomas: Well you already lost Taylor, Baldoni. Don't worry there's gonna come right up and say that in this instance, I completely do not trust Baldoni. I think he's lying here.

0:20:16 Thomas: And I think it's it's one of the reasons one this point, having gone through pages and pages and page of his stuff. Of the many reasons I think she's of two, the way bigger liar and less reliable person. Um already made arguments about other stuff but there is just no fucking way that this happens how he says it is no part of it makes any sense so let's go back to her complaint her mr paragraph 65 from her complaint god baldani also routinely degraded miss lively by finding back channel ways of criticizing her body and weight a few weeks before filming began and less than four months after miss lively had given birth to her fourth child, Ms. Lively was humiliated to learn that Mr. Baldoni secretly called her fitness trainer without her knowledge and permission and implied that he wanted her to lose weight in two weeks. Mr. baldoni told the trainer that he had asked because he was concerned about having to pick Ms. lively up in a scene for the movie, but there was no such scene. Importantly, this this is the bigger clue for me. Footnote 10. In later text messages sent to his his team, Mr. Baldoni referred to Miss Lively's trainer as, quote, a damn spy and

0:20:16 Lydia: Yeah and Mm -hmm. Hmm.

0:21:18 Thomas: To plant stories to portray his concerns as being motivated by his lower back pain. Odds that she's making all of that up, including a direct quote from text messages that we know she would have and that we're all going to see eventually, like if it's part of the thing, the odds that that she's just totally making that up and ryan reynolds was convinced enough by a thing that she's making up that he's gonna yell at just berate a celebrity that's the director no chance that's all for by the way to stack on top of that if you're if fond of bayesian probabilities like I am where you're trying to stack ontop of each other like Like what's more likely on top of all that, all because he had some legitimate concern about her weight. The only, I said this at the time, I'll say it again. You've got a bad back, the the difference between weighing a hundred, like lifting a hundred and I'm just going to guess, sorry, I have no fucking idea how tall she is, whatever. But the difference would be 140 pounds, 150 pounds, 250 pounds, 160 pounds, 120 pounds. That's nothing. That's irrelevant irrelevant to your decision. If you have a bad back, if you have an actual problem, that's just not going to make the difference. Like the 10 pounds could be like the stuff she has on her, like that's nothing. Like she has heavier shoes that

0:22:31 Thomas: Could be five pounds. Yeah, exactly.

0:22:31 Lydia: The $5 ,000 shoes, yeah.

0:22:33 Thomas: Yeah. A few more rhinestones on those things. He's all of a sudden he's throwing his back out. No, it's silly. That's not a real concern. There's absolutely no way that's not real. And she says there was no such scene. He says uh fair I want to give we his thing following this incident lively refused to perform the lift scene even though it had already been rehearsed with a stunt double so that's his claim what is that scene no one that I can find knows we've watched the movie and I don't I can watch it again I don' t remember any lifting like I don'' t remember anything like there there could be like or uh she's on the floor he goes down I think with her I think there's like a helping her up stuff you know like but all that stuff that you wouldn't literally lift a person because it's movies you would just I

0:23:14 Lydia: Or rehearse that with a stunt double.

0:23:17 Thomas: You would just movie it you I I mean they're gonna show me proof that there was an actual lift like they're doing ballet I guess I mean if they're going to show yeah I don't that's not in the movie so I don's know and the about that interaction again I said this at the time I'm sorry we've gone through so much I'm going to reiterate it because I think this is such a clear lie to me already said that this trainer's like no I didn't really train him like yeah he's already like contradicting him imagine that this was all above board imagine that everything he's saying was true and he said hey I got a back problem um just sorry how much does she weigh I'm just trying to plan for the scene he'd be like he would say maybe he'd like I'm not comfortable saying kind of thing uh knows but And for for him to then go like, hey, here's what happened. And for what he said to make Blake and Ryan Ryan Reynolds that mad. For then him to say the trainer was a damn spy rather than, hey the trainer, like he misrepresented what I was saying here. Like

0:23:18 Lydia: Just basic blocking. Yeah. Dancing. Like I'm not his trainer. Yeah. Yeah, yeah.

0:24:18 Thomas: Is a misunderstanding. Like you know, for has it in quotes. You want to say that she's just making up quotes. By the way, attorneys would sign off on that. They wouldn't.

0:24:25 Lydia: But that's exactly what I was going to chime in and say that they're going to include that in the complaint without seeing that. Yeah yeah

0:24:27 Thomas: Would not. Yeah. Of that that adds up to me. That all adds upto me that the far more likely explanation is that an actress who has recently given birth, he he is feeling like weighs too much and he's like in and asking things about that. And there's probably other facts that there are other times where she's felt that pressure. Whatever he said to this trainer was alarming enough that the trainer told Blake and the point again. It's husbands listening. How certain you'd have to be of an interaction to yell at Baldoni in this situation. You know, if you want, again, if you want to just that Ryan Reynolds is a crazy person, he's just absolutely crazy. If she says, you know, that guy said something, he'll just yell at him like that. But it's just not real. Like, I'm sorry. This is not real, it's not real life. Think that he saw something. I think Ryan Reynolds saw a lot made him feel this way to the point where he was livid. I think this is one of those things. And those things all add up to me far more likely than his his story that reeks of bullshit to me it just

0:25:24 Thomas: Does um that's significant because that is is a big lie I think that isa significant lie um we need to read the rest of this because this is like how he's explaining a lot of the of significant stuff. So why don't you go ahead?

0:25:35 Lydia: And they happen to mention the New York Times in this paragraph, so it's relevant.

0:25:39 Thomas: Cool. New York Times must be perking up at the mention. Oh me. Am I involved in this legal complaint against me?

0:25:44 Lydia: All In fact, Lively threatened to quit the production altogether, despite her contractual obligations. Gave Baldoni an ultimatum to either cast someone else or the way she works. It was her way or the highway. Sever Wayfarer's relationship with Sony, and cost millions. To highlight the effects of masterful gaslighting, and Wayfarers also truly believed that in an effort to save herself from the backlash of being recast, Lively could leak that she felt fat -shamed by Baldoni, which he thought would ruin his career. Notably, it appears he was not wrong.

0:26:26 Thomas: Was fat. Sorry.

0:26:29 Lydia: Despite his efforts to do everything her way, she still tried, continues to try, and arguably did, with the help of the times, ruin his career, reputation, and well -being.

0:26:42 Thomas: Okay so the the first part, I think we can handle that pretty easily. Um, person you're working with who is a celebrity, who's a box office gold says, uh, do it this way or I don't do it. Okay. That's Now your choice, man. You can say, all right, let's not do this. You can just work the way she wants to work and you can together make hundreds of millions of dollars. And this isn't her first movie. I'm sure she's had working relationships before. I am sure there's a way that she's done in the past and there was a way that it could have worked and whatever like this is the kind of thing where if a man did it no one would care we would never find out about it even go so far as to say maybe she was you wouldn't personally like the way she was doing this okay maybe that's true I don't know it kind of depends on what her ideas were I don' t fully trust his version of that like I don''t know what things that she''s giving an ultimatum about out I also don't know if she's talking about here like because I don't really trust his version so is this her saying hey stop sexually harassing me or I like

0:27:37 Thomas: That could be that in which case that's completely full of shit and she's just saying hey either stop being a piece of shit or cast someone else in which case she's fully in the right um

0:27:46 Lydia: It's, I'm going to quit if you don't let me wear my $5,000 shoes. Then that's silly.

0:27:49 Thomas: Could be that and fucking whatever yeah it's silly but then that's on him to make that choice But why people of a certain persuasion, I think, really go for Baldoni's thing, because if you are the kind of person who thinks that of nothing, a woman is going to manipulate and gaslight you into doing whatever she wants. Otherwise, she's going to leak that she felt fat shamed, by the way, with no evidence apropos of nothing, because in his version that didn't happen.

0:27:53 Lydia: But you make a choice. Yeah.

0:28:18 Thomas: If you feel like that's something that could happen, I'm sorry, you're like a fucking incel. Like, that's just not how anything works. Like, and unfortunately, I think that's how maybe a lot of people on the Internet think. I think a lot of people on the Internet think that women are walking around with this loaded gun, which is they can just say the word. They can just stay the word that a man was bad in some way and his life is over. And I entire thing is evidence of that not really being true, man.

0:28:44 Lydia: Time and time again, we keep getting evidence that that's not true.

0:28:48 Thomas: Just isn't. And have been times where men's careers have been affected by really bad stuff that women eventually talked about. In every instance I've ever known about, the woman's life was ruined more and career was usually like, altered more. Um think blake it's gonna be interesting to see if she gets out of this you she was or ahead of where she Was that'll be interesting I I she might she she seems to be working pretty hard at that we'll see um like most of the time it doesn't work that way most of the time the happens the men and the women are believed and and ruins their lives lives um stuff like fat shamed like just becomes a hollywood feud you know he tells her his side she tells her side you

0:29:28 Lydia: And you read about it in the tabloids, like that's all it would be. That

0:29:29 Thomas: And again if if his version is right that there's no there there and she's just gonna say it I just don't I don't believe believe I don'T buy buy into the idea that that's how he really thinks I don't buy into the idea that he thinks there's nothing there but her mere like that she could say he was he fat shamed her it would ruin his career I do not at all believe that he thinks that I don't believe that he thinks I think what happened is he fat -shamed her and said a bunch of weird stuff and he's like boy sounds like it might be bad if I don'T go with what she wants to do here and so he went it with what you wanted to do there and by the way it was better for the bottom line of the movie

0:29:47 Lydia: It would ruin his career. Yeah. If the worst thing that someone can say about you is like, I felt fat shamed by them. He has an entire PR firm that, you he pays a lot of money to. That's something they can navigate like it's certainly not going to ruin his career. People gotten around way worse stuff than that. That is something he would have been able to weather. He knows he would've been able to whether it. This is just, it's BS.

0:30:31 Thomas: We might as well finish the uh not relevant stuff in this section beyond script revisions lively extended her influence over the film to other areas frequently challenging decisions and asserting control she not only rewrote her own dialogue but also made unilateral changes to other characters lines um want to note that this started with beyond script revisions and then it talks about script revisions so that's kind of sloppy um beyond script revision she also did script revisions okay uh does say she extended her influence over the film to other areas but then it doesn't give any other areas it just says it just says script revisions I do not believe that she made unilateral changes to other characters lines like I just don't I'm sorry there's

0:31:02 Lydia: Doesn't give any examples of the, yeah, yeah? They're talking about the maraschino cherry thing, and wrote Ryle's line.

0:31:16 Thomas: And like this is silly the pattern of interference continued to disrupt the production process often causing stress, chaos, and delays not relevant to anything whatsoever this is nothing 65 yep 65 over the months leading up to the film's release lively and her collaborators consistently scrutinized interactions with Baldoni and employed tactics that fall squarely within the definition of gaslighting. This behavior pressured Sony, Baldoni, and Wayfair into ceding control to Lively at every turn, resulting in her domination of nearly every aspect of the film's production. Just doesn't seem to be true, like, based on what we know. I mean, I means, the writer still wrote it. The editor still edited it.

0:31:25 Lydia: We're still in a defamation lawsuit so it just like vague too like like there's nothing here to help corroborate like position for this particular paragraph it's

0:31:59 Thomas: And entire theory of the case is silly the theory that this is all made up in order to gain control over a thing that she could have just gained control over anyway she could have just said from the beginning do all this or I'll leave like they both make her out to be this immensely powerful you they're so scared of her and yet she would need to fake a bunch of of stuff in order to get them to do stuff. What is the point of that? Like, she sounds like she could just do it if she's so powerful, if she had all the power here and it would have ruined the movie or whatever. It sounds like she could have just done that. And there's no place ever. If this was really the extortion that he's talking about, surely, surely he could point to one single message about it.

0:32:42 Thomas: Surely he could put it in whoa sure would be a shame if news got out about how I felt something and even the implication of that sure imagine again in his view this whole thing was pretty incredibly I mean to soze levels of devious was made up with lawyers from the beginning from like day one of filming, these problems that, and also everything that she's said so far, every allegation that she's set so far has been corroborated in at least its existence by Baldoni. There's not a single thing where he says that didn't even happen. Like that's not even a real interaction, not a single one, which boy, is she a super genius. That means she got them to say things that were were very reasonably interpreted as shitty and then stuck to only those exact things that were real that happened in her campaign to make up a bunch of stuff. They corroborated it all. The odds of that are just astronomically tiny. It's impossible. Nobody is like that. That's not a real person. That's a comic book character. Nobody can really do that. Then furthermore, pulls one over on the New York Times and all these texts that show all this proof of their their and uh and all that and it's all made up and the new york times just believed it like it's just that's just I'm sorry it's silly it's silly that's not real so all of this about the pressure and the gas lying and the pattern of interference like that's all just nothing that's I want to grant there may plenty of places where like, maybe she was shitty about it. I don't know. She was shady about it has nothing to do with the gravamen, as they say, of the complaint of

0:34:25 Thomas: Her complaining. It's just nothing to deal with it. It was irrelevant to it. We're on to section I, I, II, I guess of, yeah. Of a, or an AA3. You read that heading there?

0:34:42 Lydia: There. We're sets the stage for coercion by by drafting a protection letter that intentionally misrepresents the nature of the conversations had between Baldoni and or Heath and Lively, demands Wayfarer parties sign for Lively to return to work after the industry strikes.

0:35:00 Thomas: Just went on a big rant about this. Isn't any chance that that document that we read, it was so specific. Well, okay, let's go through, I guess we can go through his his version of it first here, and then maybe we'll revisit.

0:35:12 Lydia: We can kind of, yeah, yeah. Touch on that one again.

0:35:16 Thomas: The way he tells it, all normal and chill. And then they received out of nowhere, and they literally say, an unsettling and unexpected email from Lively through her counsel, a 17 -point list of non -negotiable conditions that must be met before Lively would return to work. You and I have said before that the lawyer, every lawyer we've talked to, and by the way, just to re -up this, we talk to lawyers who don't make their careers off of telling people stuff on YouTube or podcasts. We talked to normal lawyers who are at work in this field.

0:35:48 Thomas: And she said this document is like gobsmacking that is the one who ended up signing it as through the president of Wayfair at the time, I think.

0:35:48 Lydia: This stuff. Mm -hmm. Yep.

0:35:56 Thomas: Right. And the fact that they signed this is very bad, very very bad. So naturally, you got to try to play cool about it. So the complaint is like, oh, it's just like, you know, it was like a paper that you barely, barely read it. I said something about things should be cool and chill at work. And we signed it because it was, like, we thought things should cool and chilled, too. So, you, is really trying to, like downplay it, you. You know, because hmm.

0:36:42 Lydia: So Wayfair took no issue with this request. Pause here. Request is that the intimacy coordinator be present on set. Saying that an intimacy coordinator had been engaged during the first half of production, that just means you hired somebody.

0:36:54 Thomas: Engaged. Yeah.

0:36:56 Lydia: That, there's someone that's going to show up in the credits when the movie ends, like name is there. So they were there. No, they were clearly not present on set with some moments that from Blake Lively's perspective were not comfortable. And so now the request is that the intimacy coordinator is there any time she's on set, of the content of the scene. Contrary to Lively's assertion, it was.

0:36:57 Thomas: We had one on call whenever she's there. Yeah. Face type here

0:37:25 Lydia: It Was she who refused to meet with the intimacy co -ordinator to plan out scenes, putting Baldoni in the awkward position of meeting with the Intimacy Coordinator alone and later relaying sex scene suggestions to Lively in the intimacy coordinator's absence, not only defeating the purpose, but resulting in accusations by the Times that, before shooting began, Baldoni wanted to add sex scenes that Lively considered gratuitous. In fact, these scenes were proposed by the intimacy coordinator. This is well -documented in handwritten notes Baldoni took during meetings with the intimacy co -ordinator.

0:37:58 Thomas: So we we already spent some time on this in the first iteration there's nothing new in the messages which So it doesn't add anything from before. I will say having to think about it, I want to be fair in the following way. First thing is that I think this is largely complete bullshit. I think excuse that works if you don't think of Blake Lively as a human being and you instead think of her as some sort of idiot or manipulator because I it's pretty wild to be like look at this list and maybe maybe we should revisit this uh items a few items from the the list. Let here's the email. I have the exhibit. It's 17 items. Number one, one is an intimacy coordinator must be present at all times when Blake Lively is on set. Number two is there must be a closed set during the rehearsal or filming of any scene involving simulated sex or nudity and any observation via remote monitor shall be restricted to essential personnel as approved by Blake Lively to be further described in a fully negotiated, fully executed sat compliant nudity writer. To be no spontaneous improvising of any scenes involving physical touching, simulated sex, or nudITY. Involving kissing, depictions of sexual intercourse, or any other physical touching must be contained in the screenplay as approved by Blake Lively, choreographed in advance in the the presence present of the intimacy coordinator

0:39:17 Thomas: And may only proceed as choreographed with the consent of all participants in advance. Think those three are the ones that deal with this intimacy stuff. I think this is an easy gotcha for people who don't think very deeply to be like, actually, she was the one who refused to meet with the intimacy co -ordinator. And that is the source of all this. But that just doesn't make sense if Blake Lively is an actual person, because this very clearly is motivated by her complaints that he improvised additional kissing and stuff that wasn't discussed previously. Like that's her accusation, that it wasn't discussed previously. Not that he said it, not that he proposed it like do want to be fair that there, I think there is some, I mean, it's still, I'm not saying this isn't weird, but the accusation about him saying, oh, me and my partner climax at the same time. Like, I guess you could say in full fairness to Baldoni, if one of those conversations was necessity was created by the fact that like Blake had not gone to a meeting during which the intimacy coordinator was going to go through stuff. And so therefore Baldoni had to relay stuff. Would want to hear more about how the meeting went and the details, but like I could go so far as to say, okay, maybe that one could at in least part be explained by him having to relay stuff. I would maybe let him off the hook a little depending on the details there. I don't think that's the primary complaint. That was a complaint. And also he didn't need to ask the intrusive thing of do you and Ryan Reynolds climax at the same. That's not necessary.

0:40:47 Lydia: That's very weird.

0:40:49 Thomas: I just want to grant that, though, like in terms of a conversation happening, like if that Were Were what happened, I would I would see where Justin was coming from. If it was like, well, I didn't want to have to have this conversation, but blah, blah, it's I think it's going to be up to how does this shake out and what do the facts demonstrate right now? Now, I'm more on Blake's side of that because it seemed like he was awkward and asked awkward questions and tried to put sex scenes into stuff that didn't there and stuff like that. But, you know, I am open to it. Like, if if maybe there is some explanation for that conversation, like in this part of blake lively's complaint uh 49 subhead while the heading b mr baldoni inserted improvised gratuitous sexual content and or scenes involving nudity into the film including for an underage character in highly unsettling ways yeah that is unsettling if that happened um there's no I don't really think there's any getting around that that was weird um miss miss lively signed on to the movie based on the script of the script Mr. Baldoni, without Miss Lively's knowledge or consent, graphic content, including a scene in which Miss Lively was to orgasm on camera. Miss Lavely objected to these additions, Mr. Baldoni insisted he had added them because he was making the film, quote, through the female gaze. Although he agreed to remove the scenes, he made a last -ditch attempt to keep one in which the couple orgasmed together on their wedding night, which he said was important

0:42:12 Thomas: Taking the facts as she gives them, yeah, that's gross. He shouldn't be asking that. That's a workplace conversation that shouldn't happen. Totally. I guess the I could say for him is like that female gaze thing. Maybe I could see that being part of the conversation through the intimacy coordinator like I'll maybe give them some benefit of terms of like that specific phrasing because I I think always thought it was a little extreme to say like a dude is going to mansplain to a woman that he's making it through the female gaze like

0:42:38 Lydia: Don't know that that's the exact same language he used in that interview way early before he you know when he said I'm not going to be the director I need it needs to be done you know because of a female that female gaze yada yada like that that is language that he uses yeah

0:42:54 Thomas: Just saying I'm open to the possibility that this was something that was a miscommunication through the intimacy coordinator or something like because I do think there's been some amount of he did have to communicate stuff that they talked about to Blake Lively, and I would give him some leeway there if something was awkward through that. I I think that only explains like one small portion of this. It doesn't explain the whole thing.

0:43:12 Lydia: I have a lot to say about this so um of the issues that I think that's presented in this language from baldoni's complaint against the new york times is that you know blake lively refused to meet with this intimacy coordinator which put him in this position yada ya da the intimacy coordinator is is not a pre -production role. They are a production role. The intimacy coordinator does not plan the director on the side, this is what it's going to look like. They are actively involved during the shooting. They are supposed to have conversations with the actors to make sure that their boundaries are being respected, that it's a collaborative environment on set specifically. So if they they are planning out sex scenes one -on -one then this intimacy coordinator is not taking into account Blake's boundaries at all um does not seem reasonable like intimacy coordinators they have to go through special training and everything like that like I don't think I think this was more of like um creative uh discussion between two members of the production team and not necessarily like a full choreographed discussion of of how these sex scenes or intimacy scenes are going to play out in the movie. What they what should have been on set for, is to,

0:43:33 Thomas: Interesting.

0:44:21 Lydia: In that moment, work with the director's vision, of course, but then to choreograph it with the actors and to advocate for the actors throughout. I don't see where he is asserting that that happened. And so what's the problem? He is specifically just calling out, I met with her during pre -production and you didn't. And so, you know, the stuff that we talked about, you don't have an opportunity to say that you had a problem with that because you refused to meet with her. During pre -production. That's not how it works at all. Other think I want emphasize here, it is so clear to me that an intimacy coordinator was not present when these intimate moments were being filmed, because as I said, they're there to help choreograph scenes. They're there there to help advocate for actors and their boundaries they're also there for emotional support like they they do psychology courses and and all of these things and really do feel like blake would have had more support in the moment in those instances in which she was uncomfortable um an intimacy coordinator was actually present there like I don't feel feel I feel like the here is sufficient. I

0:45:29 Thomas: Let's read 68 because I realize there's more in paragraph 68 that I think is his explanation. So in terms of the meeting, fully agree. And I made that point as well about like that. This sounded like it said introduction. It said, you know, like that didn't make any sense to me as an excuse. Why don't you read 68 and then we'll see how we feel after that.

0:46:08 Lydia: Lively distorts in her CRD complaint, which the Times then publishes.

0:46:13 Thomas: On. Let's check on. Trying to do that? Matt, I side topic, but are they trying to say that the New York Times published the CRD complaint? Is that what they're trying?

0:46:20 Lydia: I think because they reference the CRD complaint that they're saying that they published the CRT complaint.

0:46:25 Thomas: They just referenced it. There's no way that's right. What the New Year's Times article says about an intimacy coordinator. Studio, Wayfair, agreed to provide a full time intimacy coordinator, bring in an outside producer and put other safeguards on set. That's I mean, that's all I see for in terms of intimacy coordinator information.

0:46:42 Lydia: Here's what it has to say regarding any sort of sex scenes. Lively had expressed concerns about Mr. Baldoni from the beginning, according to her legal complaint. Before shooting began, for example, she objected to sex scenes he wanted to add that she considered gratuitous. That's it.

0:46:55 Thomas: Does say again, more she detailed her complaints during a meeting and it says she claimed Mr. Baldoni had improvised unwanted kissing and discussed his sex life, including encounters in which he had may not have received consent. We've gone over that. All I see. So this whole thing that they later published it like you can't say because they linked It that they therefore they published it like they more published Baldoni's statement than they did her CRD complaint.

0:47:20 Lydia: To the CRG complaint is not an endorsement of every single word in the CRD complaint, right? To source material that they use to prepare their article. They have an opinion about the CRT complaint? That's outside of their purview as, you know, journalists. So yeah, it's

0:47:35 Thomas: Say that lively distorts in her CRP complaint, which the Times then publishes is inaccurate. Actually, thing about female gays, which I identified and I'm happy to be wrong about this. You disagree and maybe you're right. I identified as like it sounds like maybe it could be an unfair characterization of that conversation. That's phrase is not in The New York Times article at all. It makes sense because like, you know, that's a pretty embarrassing thing, if true. And all she had to go on was her memory of the conversation. So I feel like The New New York times is probably like, yeah, that's A little too. A little too like a tacky on Baldoni with no proof, probably. And they didn't to their credit. They didn't put that in. Now, it might be true exactly as she said. I don't know. But like they didn't put that in the article. So not only are you wrong, Baldoni, that they published it, you know, which the Times then publishes. They didn't even put that part in their article.

0:48:29 Lydia: Response to a proposal from the intimacy coordinator that rile not orgasm after he satisfied Lily, Lively remarked, I'd be mortified if that happened to me. To which Baldoni, following Lively's lead in what seemed like an attempt to connect and develop characters, remarked that, quote, those have been some of the most beautiful moments with my wife and I. Lively again distorts this both in the protections for return to production she made Wayfair, Heath, and Baldoni sign, and in the CRD complaint, which the Times publishes as fact without any investigation whatsoever. First, this suggestion did not originate with Baldoni, and Lively knew this. Second, it was Lively who first personalized the scenes. And third, and perhaps most importantly, they were writing scenes for their characters.

0:49:13 Thomas: Elements of this that I could see being good excuses for Baldoni. However, looking back at the fundamentals, I think that this relies on, once again, not keeping the big picture clear because there are no times in all of Blake Lively's complaints that we've gone through thus far and all of the everything we've read, there are no times where Blake Lifully complains about a sex scene that was written and the intimacy coordinator was present for and it going wrong. Times. Times so like if you notice like that's kind of what his counter argument is geared toward because if you say in fact an intimacy coordinator had already been engaged as you point out you know engaged is not the same as being there that's absolutely purposeful word choice uh it was she who refused to meet with the intimacy coordinator to plan out the scenes so I think that is a distraction because she very clearly had a problem with what he did on those first like day or two of filming on set in the moment, which in her view was not a sex scene that was written into the, script. The, So that wouldn't have been one they talked about anyway. Not one they planned out. It'S not one that this even applies to. It was something where he added a that she felt was too far, was awkward, was not part part of the thing. And she, took issue with it. If Baldoni wants to argue around that, fine. Like if he wants to argue around, you if he thought that was appropriate, but instead what he's doing is he's trying to, to a little switcheroo

0:50:08 Lydia: Set. Hmm, mm hmm, yeah.

0:50:36 Thomas: And by way of several different implications, make it seem like she's crazy because there was an intimacy coordinator and he was just doing what the intimacy coordinator said. And they were just for writing. Yeah, I will grant in full fairness again, because think there could be some places where there's some misunderstanding here. If I, this conversation went down, like he said, and she was the one who kind of personalized it, and then he said something very kind of benign, which was like, oh, that's been some of the most beautiful moments with my wife. If that, if that's how that happened in all that context is accurate, it, then in that one conversation, I'd say, okay, maybe that, yeah, not, that might be a misunderstanding or it might be Blake trying to make something out of nothing. Like I would go so far as to say that, but given that there's so much misrepresentation in every other aspect of that by Baldoni, I'm

0:50:46 Lydia: Taking her lead, taking Lively's lead. Yeah, not a huge deal. -hmm.

0:51:22 Thomas: Pessimistic. I'm a little skeptical that he's telling the full truth there. So I think we would need to see more on some of this stuff, but it is a distraction because she never, that correct me if I'm wrong, there's no time that she complained. I don't don't even think she complained about an actual sex scene that that was filmed did she I mean she did I mean you could say yeah I mean I guess maybe because they had the protections in place already or something but like that's important because that's why she wanted these protections in place baldoni is trying to make like she wanted them in place for no reason and they already were in place but that makes her an insane person and that doesn't make any sense uh right. Well, with a healthy, a healthy set of paragraphs, we got from 59 to 70 by my tally.

0:51:37 Lydia: I don't think so. Mm Pretty good. Is that our best yet? No. oh dang

0:52:10 Thomas: The one that was well it's it's hard to you know there was the steroid era in the 90s and they don't know how to count that because there's that and no it's not that it's that there's that interim part where we get to skip like paragraph 31 through 45 or something because it was all like parties and jurisdiction so theoretically you know Bonds in doing that exactly but yeah it was it was a healthy chunk let's recap a little to try to keep everyone on the same page um let's see what are the main takeaways here

0:52:16 Lydia: Because of the texts oh oh yeah yeah parties and jurisdiction yeah I that's an an asterisk.

0:52:42 Lydia: Main takeaways. OK, so I think one of the big things that we got in this section was really Ryan Reynolds involvement, know, you kind of dragging him into the storyline here. We about Blake's interview on the red carpet regarding who wrote the rooftop scene that it was kind of like a, foot you and mouth sort of situation the way that she She characterized it and recognizing that all of the rewriting that was happening during production, there was evidence, I mean, at least in the form of screenshot of text messages that was submitted as part of this complaint with the producer group chat. And at least one producer, maybe two, expressed frustration over all of the changes that were happening, that it was chaotic and stressful, et cetera, et cetera. I want to take a moment because I didn't get to get into this during the main portion But let me add a little more perspective because I did a little extra digging because that's just who I am.

0:53:32 Thomas: A of extra digging oh

0:53:35 Lydia: When we're talking about production on a film set or a TV set for some sort of, you know, media, there's someone in charge to keep track of everything related to the script because script changes happen. They just do. Found a quote from in the industry that said, on some productions, it isn't unheard of for a new script revision to be issued every day.

0:53:57 Lydia: Yeah, super, super common. So you have someone that's in charge of tracking everything related to the script, what version you're on, what pages are coming out that are new, making sure that what's being filmed is adhering to the current version that you're on. And the script supervisor for this production is a woman named Holly Unterberger. And she also served in that role for Wolf of Wall Street, the film, and some actually pretty big TV spots. She was script supervisor für Succession. Don't know if it was for the entire series, because I imagine that might be kind of overwhelming. But she was involved in a number of episodes of Succession, Ray Donovan, and various other things. So what I want to clue in on here is that when a new version of a script is written, and sometimes it's just a single page with changes, sometimes the changes on that page affect other pages thereafter.

0:54:50 Lydia: And sometimes it might be a full reissue of the script as a result. They are issued in a different color to help you keep track of what version you're on. Looking the Writers Guild of America, they have kind of a

0:55:02 Thomas: Where the hell is this going this we're we're a little extra digging we're in that we're that tunnel that that that soccer team got stuck in

0:55:10 Lydia: Stick with me. I'm going to wrap it up real fast and it's going to catch you off guard. Looking at the Writer's Guild of Amerika, they designate colors to align with various versions of the script. So when you see white, that's generally like the first draft of a script. And then it goes through various colors and they have it pretty regimented as a union, right?

0:55:29 Thomas: Interesting. Pretty rough when you get to the black day. That's hard. It is really. Everyone is like, can't I do this. It actually is really hard.

0:55:32 Lydia: Squinting, trying to like hold it to the light to see where the ink is.

0:55:38 Thomas: Is like an improv day. It Is like how you know you get a fun at school day. It is not like, hey, no school today. We are watching a movie.

0:55:47 Lydia: I doing some searching because I was like okay I need some examples of like what's what normal for a film set and when I was looking at her credits I was, like, oh I wonder how many revisions Wolf of Wall Street had and I found a script revision that's being sold on eBay for Wolf of wall street and the color that they're using in that version and this is signed so I know this is literally from the set is buff now the writers guild of america

0:56:15 Thomas: That is not a color. Sorry.

0:56:17 Lydia: Designates as version seven like nearly the whole script is buff and in the description of this post for ebay just to kind of give you an idea of like you know when a man's at the helm how they characterize this the buff revised pages of the script are a testament to the director's meticulous attention to detail and make this item him a unique find. And so I just wanted to share that, you know.

0:56:39 Thomas: This is a genius. Visionary genius. Then Lively has a few suggestions and it's like, that's ruined the whole movie. We can't complete this. No one's ever printed another piece of paper before. This can't work.

0:56:51 Lydia: Know. It's kind just of comes with the territory.

0:56:53 Thomas: Mean, to be fair, she is an actress and she's not the writer, I guess. But also didn't direct it.

0:56:57 Lydia: Directors, do I page revisions all the time, too.

0:56:59 Thomas: But, yeah, that is what

0:56:59 Lydia: And I know, but I'm just saying it's not just the writer that initiates changes.

0:57:01 Thomas: They would say. Yeah, it was

0:57:03 Lydia: And sometimes it's logistics and sometimes it'S dialogue and sometimes IT'S an schedule changes. You things happen. That's just industry. That's

0:57:12 Thomas: So clearly like the relationship they were in early on. And like he had a chance if he wanted to either set a different tone to not use Blake Lively to, you know, I've said it before, but it's like this is the deal he made. Live with the deal you made. This doesn't sound like that big of a deal. Least so far. We'll see.

0:57:28 Lydia: We talked a bit about the trainer as well we got into that storyline and I kind of said what I needed to say in the episode I

0:57:37 Thomas: I really think that one is so damning.

0:57:40 Lydia: Don't know to your point earlier like didn't even need to necessarily go into that, especially that the idea that accusations of fat shaming was the worst thing that could happen to Baldoni's career. And so they had to give in to all of Blake Lively's demands. Yeah, it's just silly. It's silly. Talked a lot about the intimacy coordinator. I think there were a lot of interesting aspects to this, a lotof rhetoric that I think if you're not being careful while you're reading, it to get sucked up into it. That folks listening feel like we broke that down decently well, you know, that an intimacy coordinator as of your production team does not necessarily mean that they are on set every day. And so when we're talking about that 17 -point list of protections for return to production, you that we started digging into. Lively requesting that the intimacy coordinator be be on set and not just for the intimate scenes, for all scenes. Anytime she's going to be there, she wants the intimacy co -ordinator there. That's her advocate, essentially, for any other time she's gonna be around these people. Think that that that is pretty telling, uh, that they're really trying to obfuscate, uh... role that the intimacy coordinator had and how they were working with them prior to this list.

0:57:55 Thomas: That's a joke. Uh in for gavel gavel 17 in which we'll see uh how much more they can throw at the new york times wait oh

0:59:03 Lydia: Oh, wait, this was all about the New York Times.

0:59:06 Thomas: Nothing to do with I know we say it all the time but it's really silly and embarrassing but oh well um I'm really looking forward to the next episode uh there's Some good stuff I feel like we're really um, yeah.

0:59:16 Lydia: Hitting our stride.

0:59:17 Thomas: It's like, you know, the 10 ,000 hours thing. It's like we're finally around 10 ,00 hours is fucking complaint. So, you Know, that's when we're going to turn into just a Michael Jordan, you're just We'RE on to the final third. Third, we're getting, that's what we're going to do next, next episode. You know, we've completed two thirds. We could, we could impeach convict a president with what we've, yeah, I don't, that doesn't make sense, but we've done two thirds, we have a super majority of this complaint done and we're going to keep going. So much for listening, everyone. Thanks patrons, most of all at patreon .com slash gavel pod, you're the best and we'll see you next episode

0:59:52 Lydia: See you then. Also an errant like a period there folks just I'm

1:00:17 Thomas: Where first

1:00:17 Lydia: I'm here in between time and plaintiffs this was aussi the first time plaintiffs learn that reynolds in the original one I'm in the orignal do they fix it and they mended oh oh my gosh is that um cut that it was a piece of dust yeah now

1:00:21 Thomas: I don't uh I don'T have that uh it might be you yeah yeah I'll cut it