Lively v. Baldoni 32 - Maybe We Should Just Talk About the Footage. Let's Just Talk

Transcript

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

0:00:26 Thomas: It's gavel time. Gavel heads, grab your gavels. It is gavel time.

0:00:30 Lydia: Have mine. I have two.

0:00:32 Thomas: What?

0:00:33 Lydia: Have one in each hand, baby.

0:00:34 Thomas: Fair. Don't get two gavel.

0:00:35 Lydia: I'm ready to gavel it.

0:00:36 Thomas: I'm telling.

0:00:37 Lydia: I'm gonna gavel here. I'M GONNA GAVEL THERE. IM GONNAA GAVEL EVERYWHERE.

0:00:39 Thomas: Have twice the justice then.

0:00:41 Lydia: Yeah, I do. Hashtag feminism.

0:00:43 Thomas: I was going to say, well, that goes with today's theme of women these days. Can't do anything, can they? I'm Thomas Smith.

0:00:53 Lydia: Hi, I'm Thomas, a man who can't do anything.

0:00:57 Thomas: Yeah I'm the poster boy for men who can't do anything I'm Thomas Smith that over there is Lydia Smith how you doing

0:01:03 Lydia: Hi. Oh, I'M GOOD. I'VE BEEN EXPOSED do some really weird stuff in preparation for these episodes. So I I'm losing my mind a little bit, but yeah, I'm doing okay ultimately.

0:01:14 Thomas: Watching any amount of Candace Owens or anyone I don't

0:01:19 Lydia: Honestly, that's why I grabbed the second gavel because I was like, I need to be able to get out of here.

0:01:22 Thomas: It's a defensive gavel ones for hitting ones for blocking you know although they're little hammers I feel like you should be able to throw them and have them come back to you that would be a cool power well no but yes sure more like a magic uh thor hammer is what I was thinking it'd be funny if thor had to throw his hammer like at that angle that you have to do with boomerangs then like wait let's for it to kind of boom and it never works yeah he's like god it kind of comes back, but not really.

0:01:33 Lydia: A boomerang. A boomerANG hammer. How would we design that? Yeah, it's a Thor hammer. Yeah. And then wait a long time for it to come back. Yeah. Gets lost in the brush and the outback.

0:01:56 Thomas: Has everyone seen my hammer? We are today going to be doing more of the kind of argument analysis about the the footage of the bar scene. So much out there to respond to. I mean, there are so many ways that people took this. I, you know, some of it, I get people where people are coming from. I think a lot of it is like what I frequently do is like the context debunk. I Think people just are missing the bigger picture often.

0:02:22 Thomas: And so we're going to really get into that today. As a bonus at end, we're gonna sneak in some, some Candace Owens analysis analysis. Cause

0:02:29 Lydia: Guys have all been missing some candy in your lives. Let's be honest. You need you need some candy Owens.

0:02:33 Thomas: I hate that. Is that real?

0:02:37 Lydia: I don't know. Some people call her that.

0:02:38 Thomas: You make that up? I want to edit that out. I don't even so like disgusted by it.

0:02:46 Thomas: No, you know, your fault. I just like, Oh, I

0:02:47 Lydia: I Yeah. Got to get yourself a second gavel. I think that's a problem. You would feel much more protected.

0:02:50 Thomas: Know. I'd use that gal to bust my computer after hearing that. Just gonna give a little teaser of of Candice thinks before we go to break here we go stop I can only edit so much

0:02:55 Lydia: A little taste. Little Taste of Candy.

0:03:04 Clip: In California. You just go, how is this allowed? This is why I say being a little bit cheeky. But also not, like, I just the modern woman, women, today, you know, this, this feminist, like you're suffering from absolutely nothing. This when you watch it you let me know if you walk away going wow this woman is a hashtag survivor and if your answer to that is yes then I just want you to know that you suck you

0:03:14 Lydia: Take. Good Take, Candy.

0:03:28 Thomas: I'm thomas smith I do suck cell phones today yeah no I suck for sure but also there's a lot that's wrong in there for that she's saying and uh we're going to talk about that after the break um you can avoid patreon.com/gavelpod avoid the break and come hang out with us and get a little bonus, a little bit, a little bit of bonus. We're going to do, we weren't, we aren't doing enough bonus stuff for you as a bonus. We're gonna go through a lot more of that. Candace Owens. I'm not going to say it. I'm going to go through it. I'm gonna go say the thing you say. Gonna go through the thing. I'm Going to go say a lot more of it. Cause Uh, it's real bad we're it we're gonna do it for patrons a little extra so look forward to that patreon.com/gavelpod that's where you can find that but in the meantime quick break and then we'll get to it

0:03:37 Lydia: There's so much. Yeah.

0:04:15 Thomas: Don't we start this part off by reading a bit of how Baldoni described what happened I

0:04:22 Lydia: We did mention how blake characterized that spray tan um in her complaint I wanted to reiterate how it's characterized in the wayfarer complaint um just to make sure you know I would just want to be fair

0:04:35 Thomas: Again, this is the one we're fast forwarding a little, but this is the one where just reading for the purposes of this recording.

0:04:40 Lydia: Exactly just want to reiterate how it is framed in this so says says um apologized for the smell of her spray tan and body makeup baldoni responded it smells good and continued acting slow dancing as he believed his character would with his partner which requires some amount of physical touching so that is also not totally the whole truth like about is like is my beard getting on you again I'm

0:05:03 Thomas: Yeah, I'm going to get beard on you.

0:05:05 Lydia: Gonna get yeah am I getting beard on you again and then blake responds with um probably getting my spray tan on you and then he says it smells good so just kind of like you know

0:05:07 Thomas: She says, yeah, yeah. It's kind of funny. He had the footage and still couldn't do it right like

0:05:17 Lydia: There are other points in his commentary here where it's just wrong where like um so baldoni offered up that he and his wife often just look into each other's eyes silently to which she responded like sociopaths and laughed And that's not what she said.

0:05:20 Thomas: What he was in there but I feel like there's some cross talk oh

0:05:34 Lydia: Mean, they subtitled it. So she like, you know, probably freak you out. And he says, you know, it is literally we just literally look at each other. She's laughing and stuff. And she said, yeah, I'd be like, oh, no, I found a sociopath. So she's not calling them sociopaths. She's saying for her, that is not a relationship that she would feel comfortable in.

0:05:51 Thomas: I mean she's saying she would call them somebody a sociopath or you know it's kind of but the I think what's interesting is even he with the benefit of the footage is not describing it right

0:06:02 Lydia: Right. It's just it's it's just slightly differently to make her look worse. I think when it says like, you know, to which she responded like sociopaths and laughed. That's not how that interaction happened at all. And like and laughed after saying that. That's Not How It Happened. She was laughing during that conversation because it was, you know, they're very different people and they have very different relationships. And so she's laughing through that.

0:06:12 Thomas: That's not yeah yeah, that's not it. It's not how that went. Huh? Interesting. Good information there. Let's take a step back because, look at the Baldoni side of things, this comes down to many people as, oh, this was proof that Blake Lively made everything up because she described the situation incorrectly. And I'll say it like misleadingly. I think she described it misleadingly and I that that's not good and that definitely counts against her credibility a little bit. I take a step back though. Let's take a step back and see what's happening here. Because I think when you look at things in context, one of the messages I've had over and over is, yes, if you zoom in, if you Zoom in on little details, oh, she said he said, oh smells so good. And you know, and yeah, if you ZOOM in on that, it makes her look like a complete liar and fabricated. If you think about things, how, you know humans normally work, what I'm trying to think of is, okay, why did this happen? Like, why would she have described it in that way? I think it's important to look at what her experience would have been at Like, what her experienced would have at that time what was going on. And I think when you take a look at the details, it starts to kind of change how you might look at this. So, for one, I think it's very clear. First off, even just not even looking at the context, just looking at the footage, it's pretty clear that at that second kiss, as we talked about, she resisted and started being very vocal about, we shouldn't kiss. We shouldn't kiss. Maybe we shouldn't kiss.

0:07:50 Thomas: And they give us the script that says nothing about kissing and nothing about all that stuff. It just says slow dancing. That's all it says completely in their their own world. All it says. Doesn't say anything. That's what the script says. In terms of what is an actress going to be ready to shoot? Script says slow dance. There is no intimacy coordinator. No prior discussion about intimacy in the scene. Correct.

0:08:14 Lydia: As far as we are aware. Correct. Yep mm

0:08:17 Thomas: So already, already I'm on Blake's side in terms OF that with this interaction, because Because what I know is that when victims report stuff, are imperfect. In a complaint, she's going to try to make things, you know, she'S going to try to write things to be the best case. And I think this was misleading and unfortunate. I it's important to look at what that means. I think that means is, no, she was still wronged. She just described it incorrectly that's just in what we've seen we see her very vocally be like hey maybe they shouldn't kiss let's not kiss like that reads like she's not wanting to do that to me and the way baldoni describes it I don't know if you want to read it again but he just describes it as she's trying to direct and it's like well Well, OK, but like if her version is she didn't want to be doing this intimacy and he was kind of ad-libbing intimacy that she wasn't comfortable with, how would she tell me this? How could she in that moment? Listening who maybe is on the other side of this, do you think it's OK? Do you think Blake Lively was allowed to have a problem with that? First off, I think so. If there's no

0:09:23 Thomas: Intimacy coordinator talk, there's nothing that's not written into the scene the script says slow dance. If I were in a scene that said they slow dance, I don't really think I'd necessarily assume that that was going to be all the lip stuff and the neck stuff he's doing and the whatever. Like, it's not impossible, but like, this is a workplace, as you constantly say and correctly, and you need to clear that. So that's why you have an intimacy coordinator. Coordinator yeah

0:09:49 Lydia: If that was the intention of that scene and it wasn't written to the script, but that was part of that vision, then that's something that should have been a conversation beforehand. And I think we can tell it did not based on her reaction in the scene itself. Diva.

0:10:01 Thomas: She I don't know how else she's supposed to voice discomfort with that in that moment taking the reality of the situation he's the director he's the everything she's got to manage social impressions at all times there's all these expectations on women it's very talked about it's Very difficult to like voice your um comfort in ways that aren't going to like, you know, make look like, uh, you know, yeah.

0:10:24 Thomas: And all the things you've, you've talked about where it's like, it's a really hard balance to strike. And way she did it was after that, again, that first kiss, I think she was kind of, or that first we'll say almost kiss. I think she Was kind of caught off guard. The second time she seemed more ready, which I fully relate to. I don't think we can expect people to react with superhuman speed to everything. Like, I think that she gathered herself and then when he went for it again, she starts saying, hey, no, let's not don't kiss. Let's not do it that. I don't know how what's a better way to voice your discomfort than that, than like the most it's likethe most collaborative, gentle way tovoice your discomfort that still maintain. And this is something, like, dudes listening, I think this is something women have to take into account all the time that men don't realize. Like, have to try to try it in a way that still preserves, like the, of the, of the situation. Mm-hmm. Yeah.

0:11:36 Lydia: Here and there and everywhere. Right. I think it's one thing when it's like someone is approaching you on the street and like mitigating that situation or approaching you at a bar or something like that. But within the workplace itself with something that has a budget and a schedule. And as we know, like later got upended because of the writer's strike and the actor's strike. Like I think she's also trying to be cognizant of that and like trying to be fair to the set and all these other people that would be impacted so she can't just like walk away yeah

0:12:06 Thomas: The while still trying to do her job and be an actor and do stuff that's really hard to do and manage all at once. Yeah, it's a lot to do. Even Even beyond that, look at the context, look at the timeline. Day one of filming is May 15th. Already by way, we've already had the stuff with the fitness trainer and the weight stuff and already happened. I don't believe they've confronted him about it until later her but day of filming don't Know everything that's happened but from her complaint and again nothing in her complaint was contradicted by Baldoni. Nothing, no events, no time. Maybe he just didn't say it. I guess we could leave it open to that possibility. But as of now, her complaint stands in terms of what happened. He just has different interpretations of it, much.

0:12:51 Lydia: The facts are the same yeah Yeah.

0:12:53 Thomas: And so to that point, one of filming, Heath and Baldoni tell Blake Lively about their hookup story and how they passed a woman from Baldoni to Heath. Interesting. He said, I don't know if we're even been allowed to do this. Day one, we have an HR report already as he was trying to hug Lively's employees. So that's Heath on day one. She's uncomfortable with that. Okay. Two is when she alleges Heath enters her hair and makeup trailer unannounced. Gone through that at length and I don't find their story at all plausible. Find her story very plausible. Their story makes no sense in their story she's just mad for no reason because she's not she's both not breastfeeding but no she what was it she is breastfeeding she's getting makeup removed but she's naked she's like totally clothed all at once it seems like they combined a bunch of different things and yet she still said go wait outside essentially so none of that her their story makes no sense. Her story makes sense she was bothered by that so that's day two of filming day like, I think, a weekend or whatever, because it says now May 22nd, the birth scene is filmed. And again, according to Blake Lively, that was uncomfortable. They urged her for like nudity from the, you know, full nudity. I think she said there was a compromise that there'd be nudity From the Waist Down. Then there's also the thing uh where she alleges that the sarowitz was able to see the like closed circuit footage of it and kind of like that's part of her complaints is people were able to see these like intimate oh also casting his friend

0:14:23 Thomas: The actor as the so like that first two days were the 15th and the 16th. Birth scene is the 22nd. I don't know if that's, if anything happened in between, but we might just not know about it, but that, that's what we have. And so there's the birth scene. The 23rd is when Jamie Heath shows the birthing video, which again, his story makes No Sense. Her story makes sense. I believe believe her version of that story because it's the only thing that makes sense yeah

0:14:23 Lydia: His friend as the doctor. Mm hmm. Hmm?

0:14:47 Lydia: Also, they already filmed the birth scene. So why are we even doing this?

0:14:49 Thomas: Why are we even talking about that so that has all happened and then on the 23rd is the bar scene not sure if there are any days that just weren't talked about in between but if not this is essentially four days in a row of stuff that she's found and in my opinion very justifiably weird unsettling to say the least and downright sexually harassment like I mean again Again, Heath that's a big deal. This is a workplace.

0:14:54 Lydia: That same day. Mm hm.

0:15:17 Thomas: All that context, then this shoot happens. And there is no talk of an intimacy coordinator. There's no planning ahead of time. The script says they slow dance. And he's doing all this additional stuff. And a very Amicable Way to express her issues with how it's going yeah when you look at things that way, if you want to just zoom zoom in and say, wow, she she lied about how this went down. Okay. Think it is totally fine to have a problem with how she described that. It was misleading how she describes that. But are we talking about she on purpose is trying to lie to the world to create a false accusation against a man who did nothing wrong? Or does it it look more like she, not having access to the film, describing something that happened, what, a year and several months prior, right?

0:15:16 Lydia: -hmm yep I yeah mm

0:16:05 Thomas: Remembered being uncomfortable with the scene and described it in a way that, yeah, -serving in terms of the point she's trying to get across, was was inaccurate and if it's just that I point I'm trying to make is a guy kicks me in the shin and a year and a half later I'm like yeah and he punched me in the arm and then he's like I have the footage I actually kicked you in the chin oh does that make him a hero like is he good no he assaulted me or battered me in a way that was was different than I remembered. You not perfect. Like maybe, maybe at my exaggeration made a bit little worse. Like, he oh only just hurt me a little bit instead of a lot or something, you know, but like, that is very different from, oh no, we have never met and I just made up a thing, you know, or, or whatever. It is very different than actually nothing happened that day and I am just trying, or any of days, and I'm just trying to make up a lie. It's very different. It might be, you think it's appropriate to if she described this incorrectly. Is there other stuff she's described incorrectly? I think it's inappropriate. Yeah. I mean, I think this was a mistake on her part. This was not a good, not good that she did this. Don't know, like what she was kind of supposed to do, if that's how she remembered it. I'm not really sure. You know what I mean? Like she didn't have access to the film.

0:17:16 Thomas: I mean, for that matter, we don't have any verification other than Brian Friedman's fucking word for it, that this is unedited and all there is like, I don't know, there could be, it could be deceptively edited. There could be more. I don'T know.

0:17:28 Lydia: And to that point you some of the things that we we called out while we were watching it is they subtitled a lot of it and then And there are certain parts where they don't subtitle it. That purposeful from the wayfarer angle where it's not irrelevant, irrelevant, but it just doesn't make him look great or doesn't help their case necessarily. So that is getting left out, too. It's Not from an source, I guess.

0:17:53 Thomas: And I think this goes to what I've tried to the point I've trying to make in case we have any, you know, andI know we have a few listeners who are on Baldoni's side, the I want to make is it's very easy to put an electron microscope on the victim and at the first sign of something told incorrectly, or even I, you know, you'd even say lied about if you want to say at the 1st sign of any of that, then now that nothing else counts. It's very easier to do that. I don't like if I'm sitting here as a neutral third party and trying to see, well, who who's in the wrong here? Would conclude, well. It sounds like she misremembered that she described it in a way that made him look worse than it was. This is day four of four straight days of stuff that violated her like. Boundaries in significant ways, significant ways. And so what I see is, okay, that's not really in the grand scheme of things, her describing that incorrectly, or even if you want to say she lied about it, which I don't think it makes more sense to me that she had a memory that went down a way. She felt very uncomfortable during that whole thing and misremembered exactly how that conversation went in

0:18:58 Thomas: A way that was, you more toward her point she's trying to make. Like, but in order to just get rid of this, in order to just dismiss everything because of this one way she described something, you would have to get rid of all this other context and just assume nothing happened and just like, it's, you're trying to be accurate, if your trying to be skeptical, in the world would she, again, the next day she texts somebody, we think it's Liz, right? Right?

0:18:57 Lydia: Mm hmm, we think it's Liz Plank.

0:19:25 Thomas: Does she text?

0:19:25 Lydia: And, and so this, this I think is done, because this is not part of her original complaint. Was added to the amended. So this is after the footage has been released. And I think she's basically trying to like, you I felt uncomfortable at that time.

0:19:42 Thomas: With the timeline a little and it's hard trying to tell this in the right way. It felt like getting this out was important because it informs kind of the next round of things we're going to talk about. Did fast forward a little bit to read you some of how Baldoni described this. Can also fast forward to read something that added In her next amended complaint that we'll get to, which is a text from the next day.

0:20:06 Lydia: 24th it says uh that she confided in a text to a woman who was a mutual friend of mr baldoni and mr heath and we think it's liz plank as a result uh I was gonna invite you to set tomorrow these people whoa it's like hr nuts today the both of them I wasn't expecting that turn I mean it's been present but today I came home and cried. Yeah, further in the exchange, Miss Lively describes Mr. Baldoni and Mr. Heath as, quote, creeps. Like, keep your hormones to yourselves. This is not mine. I don't want it. I don'T want your gaze or words or tongue or videos of your naked wife. Yeah, it's shocking. Clowns.

0:20:44 Thomas: Contemporaneous. What happened on the 24th?

0:20:47 Lydia: Nothing. So I think what happened is that it's probably after midnight. So it's May 24th, technically, but it's after shooting that day.

0:20:52 Thomas: I don't. So it could be that day. Yeah, it could Could be that very day because we don't see anything on the 24th, but who knows? But I think that seems pretty plausible to me that it would be like after midnight or something. I want to try to look at this, again, objectively as a third party not involved. Because I'm trying to get at the truth. I'm not trying to getting at, you one person's reputation or another or going all in for one person or another. I don't care about that. I'm just trying to look. I'm looking at the fact that I'm going to try and look at the reality of what happened. The truth of what happens that broad strokes, again. Baldoni and Heath, by the way, and maybe other people create a sexually harassing, unsafe set? Then a separate question, did they retaliate against her in the smear campaign? That's something that's not really the subject of today, but like I'm looking at that broadly and because I've said this from the beginning. Planning, in a legal battle between two people, you're going to find places where both of them are making a claim too far, maybe stretching the truth, whatever. And I think what so many people do is they've chosen the side they're on, and then they just hyper -focus on the other side's times where they don't look like they're being truthful. I don't care about that because because that's not real. Like what I care about is was, Blake wronged or not? Was she sexually harassed or Not? And then if she happened to get something wrong or even lie about something else in the process, like, yeah, I want to know about that. I will count that against her credibility. But if ultimately that didn't change the fact that she was sexually harassed, then that really really doesn't matter that much, you know, like it, so we have in instance of the way she described something and I'll come out and say it, it was misleading. Described it in a way that made it sound way creepier than it possibly because in her version, based on when I read it, it sounded like, oh, they're slow dancing. And then he just does this kind of out of nowhere.

0:22:46 Thomas: He does this like neck thing and says it smells good. OK, we I just want to look at the reality, my best guess as to the objective reality as close as we can get of what happened. In order for the Baldoni side to be correct, this has to be something she lied about for the purposes of taking over the film. Because it none of it makes any sense like there's no there's no version of this that makes sense without her having some motivation to just smear this guy out of nowhere because in their version this is all nothing like none of this happened or actually I mean honestly in their version it all happened but it's just none of it was actually sexual harassment it was all her misinterpreting stuff and we so those are the two pictures on the other picture is he sexually harassed her he and others others, Heath and others sexually harassed her in these different ways. What version is correct? What version of reality, what does it look like in light of this kind of new data? Cause this, this footage is, you know, it's, we get to see what actually happened for the most part, unless it was edited. We don't know for sure. It could have been selectively edited. Could have been not everything. I don't knows. So if I see evidence of her having a problem with these things at the time, and it's multiple things and she speaks up right away, She texts the friend, the clowns we read, you

0:24:05 Thomas: Know, like that's a damning text. That's that day possibly, because think that was that day after midnight. So it would be the 24th instead of the 23rd. And she said she came home crying. Then she COVID. So she's going to be away for a bit. On the 26th, And she contacts Sony on the 26th. So this shoot happened the 23rd. Specific thing. Now, there have been a lot of stuff, but that thing was the 23th. She texts her friend possibly that night, two days later, tells a representative of Sony that she wants to file an HR complaint about both Baldoni and Heath. That's solid. There's no getting around that. That's what she says so let's look at the two pictures of reality she's got consistent plausible complaints of gross stuff for the these four days like the all solid every day other people seem to also have a problem with what's happening on set um another actress that we don't know who it is but is complaining about baldoni and and how it's and heath I think right another

0:25:04 Lydia: Baldoni. It doesn't say Heath. I

0:25:07 Thomas: That she is not keeping this secret in order to use later as a way to take over the film. Them this just doesn't their version does not make sense it it is crazy to me to try to imagine that this is some pre -thought -out plan where on day one of filming she's already having they're already doing stuff she's уже alleging plausibly that they're sexually harassing her doing this weird stuff day two day three day four she complains to a friend in private text private Private text. Complaints to a friend. The 24th. There may be more of those. We don't know. And then on the 26th is literally asking Sony, hey, can I make a complaint?

0:25:47 Thomas: And Sony is like, well, we're just the distributor. So no.

0:25:50 Lydia: You have to raise it with his his company what is to her original complaint

0:25:53 Thomas: Then that on May 26, what happens? Which we've already read you pretty much entirely, but it's hard to remember. We'll remind us.

0:26:03 Lydia: Explicitly told a representative from sony that she needed to file a hr complain about not just justin baldoni but also jamie heath about both of their alleged misconduct. Sony responded that Sony is just the distributor. They are not able to control either of Baldoni or Heath's behavior on set. And that if there are concerns, they need to be raised with Wayfarer, which is Baldoni and Heath's production company.

0:26:29 Thomas: Yep. That must be frustrating. Version of events makes more sense? From the beginning, she's decided she wants to take over a film, which, by the way, again, she could have just done by leveraging her very presence in the film. Like she could've just said, okay, I'm walking unless you let me direct or something. You know, like she could Have done that. And by the way to I've said before as well if she allegedly got all this control that this the the baldoni side is saying was the whole point of the thing is she still filing the crd complaint afterward because that she accomplished what she wanted to she she got him to do the separate screening she got all that stuff she's a hundred percent pretty much one according to them she's taken over everything she's done everything and then she also wants to file what in their opinion would be like a lying bogus legal complaint why she already got what she wanted yeah

0:27:21 Lydia: I mean, if you believe people on the Internet, it's because she's a a narcissist and when there were negative things about her she couldn't possibly believe that they were you know just organic and etc etc so

0:27:36 Thomas: In her mind if they're negative things again in baldoni's version of the story if there are negative things about a past interview she's doing why is that even linked to baldoni you know like like why if his version of if the story is correct, why would she want to file, again, opening herself up to potential liability by filing a false, like legal complaint against him? What makes way more sense is that she just had legitimate issues with the film. Now you can, you know, he's free to interpret things differently. You're free to buy his interpretations, I guess. But what makes no sense is this idea that this was some premeditated thing, especially considering it involved Heath. It involves all's behavior that again, in not one instance, did they say, did they even say that something didn't happen? So she happened to have this pre ordained plan. She haven't, here's what I'm gonna do. It's, it's premeditated. I'm going to come up with ways that they sexually harassed me. And then once you know it, they just do a bunch of things that are very plausibly sexual harassment. And she sticks to exactly those things in, in her, you know, like Like, that is a just frankly silly and irrational way to look at things. What makes way more sense, what's way more consistent with what we know, is that she had a legitimate issue. She described it. And by the way, imagine now, let's go back to, now let's Go Back to the Footage. Go Back to that day. You've gone through three very gross days. Then this happens. And again, the script says slow dance. There's been nothing cleared with an intimacy coordinator there's no discussions and in that moment when he first starts doing stuff that she finds weird think for a moment I just invite you anyone on the other side of this think what that's like from her perspective she's in the scene with the director normally here's what might be able to happen and and this is just from our experience than like theater. But, but like, I think the same would apply in film. You might be able to, again, if there's a neutral, like director who wasn't the owner of the film, you know, part of the owner, of the company that's distributing it and the actor and the, and the person who's actually sexually harassing, pretend it's a normal thing where you have a, let's

0:29:46 Thomas: Say you have a co -star who's starting to do stuff that you don't look super comfortable with. For one, given Given that they're not the co -owner of the production company, that's the very thing that you're doing. You might be able to say something and not have it be very fraught. Like you might be a little just be like, oh, I'm not sure. Or what you can do, which I think is way easier is for one, they could have talked it through with an intimacy coordinator. That would have probably made all the difference. Or you can say, oh director, give me, I need to, I needs to talk to you about something. And you could, you would have that third party who's an authority, by the way, the director to say, Hey, I'm not, I didn't agree to do, he's doing some stuff that's kind of weird to me, like with the mouth and the lips and the whatever.

0:30:24 Lydia: I yeah has

0:30:24 Thomas: I'm Not really comfortable with that. We didn't talk about any of that. And you would have the ability to do that in a way that's not a direct confrontation with the authority figure that's in charge of all that. You know what I mean? That would have given her a better way to do that, but she doesn't have that. What she hasn't said is she is acting across from the guy who is the director, who is is the co -owner of the production company that has the rights to these things, the whole thing.

0:30:46 Lydia: The rights to the whole thing yeah

0:30:48 Thomas: And she has to try to think like, what do I even do? There's nobody else to go to in that moment. There's somebody else to say anything. Anything you would do would be seen as really confrontational and hostile, which I think if you have any empathy or if you're a woman, you just probably understand it. But if you are a man like I am with any empathy, you could think for a moment about how rough that must be to be in a situation where you have to you would have to bring down the whole fucking shoot because you're uncomfortable and all that goes with that all the you kind of embarrassment and the harassment that might go with that and the hostility that might go with it how does she manage this she's put in a really shitty situation and she does I think a pretty good job of making it about the scene and trying to direct it but this is I think the last straw in terms of like, clearly after this, she was like, this is too far, you know? And that's another thing that I've talked about from the beginning that I also would invite people to think about, men, which is, and what we've talked About, going to be a certain amount of goodwill initially, there is going to Be a certain amount of, okay, maybe I'm interpreting this differently, maybe they're just awkward, maybe They're just whatever. There's going To And then

0:31:56 Thomas: Eventually, right, right. Maybe, yeah, there's going to be a certain amount of that until eventually it's like, all right, no, at least in your mind, I would imagine to where it's like, no this is okay. This is cross the line and people are going to have different thresholds for that. And some people, I have sympathy for this. Some people will probably continue to explain it away for a long time just because it's so much less stressful than actually trying to confront anyone about it. The fact that she's kind of going along she's still doing the filming the fact that she is doing all this stuff that just strikes me as how humans work like there is going to get to a point where it is like maybe if this day of shooting had been the first thing and then the only thing and nothing happened after I

0:31:56 Lydia: Maybe I haven't been clear about, you where my boundaries are. Yeah, yeah. Yeah? Yeah. Hm.

0:32:40 Thomas: Don't know that she would have complained it might have been weird I guess I don' t know her but like she probably would have been like I should have had an intimacy coordinator but let's pretend this This was the only thing that happened was this shoot.

0:32:51 Lydia: I don't know that we would be here.

0:32:52 Thomas: Don't think so. I don' t think we'd hear about it. I think it would have been like that was kind of weird. But I was able to kind of, you know, play it off as like I'd rather not do this stuff. And, you Know, we wouldn't be hearing about it and I think to a lot of people looking to discredit Blake or any victims of this stuff, they see that as so therefore like that's dishonest. Like you, they refuse to look at things in context. Like, if this is thing number five, then all of a sudden you're no longer giving the benefit of You're no long making excuses for the person. You're going to read things a different way. Yeah, you're not going to be as charitable as you might have been. In.

0:33:00 Lydia: Hum. That lens. Yeah yeah. Mm hmm.

0:33:31 Thomas: That might mean that maybe you're wrong about some of the things, like maybe some of the interactions of that day were just kind of normal, but now you're reading it with that lens and that doesn't make you a liar. That doesn't makes you dishonest. That means this person has really worn out any plausible deniability they had, any goodwill they had. And now they to kind of have their things looked at in that manner. And then, you could give their side of things. And then if it gets is, this far, then a jury can decide which side they believe. But that makes sense to me. That all makes sense to me as consistent with human beings.

0:34:03 Lydia: Yeah. I was just going to say, like, I don't even know that that's necessarily like a conscious thing that honestly like it's a mode of protection at that point, like your brain kind of, you a new schema, right? Something is like, like fits into this particular schema, but it's like thought pattern.

0:34:19 Thomas: You were looking at someone one way and then you, it turns.

0:34:22 Lydia: Then something changes it. And now your brain is quickly responding based off of what, you need to interpret that person to be. Now that person might be a threat to your safety. So everything you're going to be doing is going to be at that like subconscious level of reacting based off of something or someone that is a threat to your safety I'm

0:34:41 Thomas: Yeah that's what I'm trying to get. I know it might be a little abstract, but I think about it a lot. Um, things I'm saying might be a little abstract but I'm trying to make the point. I don't know. I just feel like I don't know, I don't, I think there are a lot of men who don't properly maybe put, try to imagine how this must be. And they want to put like an objective, no, there's one answer, either this action or, or these words said were sexual harassment or not. It's like, yeah, but like, it's also contextual, you know, like if somebody says, um, pick your thing that's creepy. As you said, they're a stranger on the street. They're walking past you. They'RE whatever. It's not good, but it's not like you might not feel in danger depending on the situation. Play back the same exact words, same exact interaction, except, you know, they have like a weapon hidden and you know that you can't easily get away from them. All of a sudden the very same words, the very same thing. You could, everything else could be exactly the same, but the underlying knowledge of like, oh no, I'm in more danger. And this was maybe a clumsy, like way to illustrate this point. But I, but what you said, I think is perfectly right. It's like, there's a difference between someone saying something to me. It might be a little creepy, but I know I can, like, I mean, I'm not stuck here.

0:35:47 Lydia: Never going to see them again

0:35:48 Thomas: I'm yeah. Like I'm Not stuck in this situation. We're not, I'm I'm trapped in an elevator with, you know, it's like whatever versus this person is saying and in doing the exact same thing, but like, he's the director. You're, you have no easy way to get out of this situation. And there's been this backlog of bullshit for four straight days. And some of it is pretty gross. Like, this is like, again, if, if what she alleges is true, especially about the birthing scene and the, and the creepy billionaire seeing it, you know, and all that stuff like that, like this is becoming an issue. This is no longer like, oh, I can just kind of treat that as like, Oh, something weird that happened, blah, blah. No, this was part of a a systematic so all taking all that into account, when I see the fact that she very much described this incorrectly, maybe you could even allege dishonestly. I don't see the motive in there. I think this is more plausibly to me. She remembered it wrong. And she, it's been a year at least when she, probably more by the time she was like, documenting you this complaint. Um, she, she remembered that she felt uncomfortable. She might've just not remembered how that interaction went and he had access to the video and she didn't. That's that, that makes far more sense to me. And if you want to say it's a knock on her credibility a little bit, sure. I'll go, I'd like, I'll even go with that. Like maybe that means she's misremembering some other stuff. However, still the overwhelming evidence and the overwhelming thing that makes any sense is that she was legitimately uncomfortable. Keep in mind there that is no room for that in his story it's I think this is something that gets lost a lot and something that, that I think people don't, I think they just kind of conveniently forget it. Baldoni's story only makes sense if she has a motive, if she's making all all this up for a purpose because otherwise it

0:37:30 Thomas: Just makes no sense documented it's

0:37:32 Lydia: It will and and and to then also text another person contemporaneously um about how she was feeling uncomfortable all of that would have to be a lie then too to further her agenda that that's not Not real life.

0:37:47 Thomas: And I think part of this is that I've consumed so much of the um, Blake stuff that there isn't like there's not a whole lot of baldoni's side that's like yeah I think she just kind of misinterpreted some stuff because it doesn't work like it because the whole thing has to be this elaborate conspiracy otherwise it doesn'T make sense like it doesn 'NT make sense for her to have done all this stuff you know to your point like contemporaneously saying this stuff it only makes sense his story is only coherent as in he's completely innocent if she's motivated to be making a whole lot of shit up the evidence is just so much more consistent with her legitimately being uncomfortable she she calls sony she's like hey can I file a complaint by the way it's told no like we we don't we're the distributor go go to checks notes justin baldoni essentially that's tough that's that must be hard you know and so I would just invite anyone on the baldoni side to it's one thing if you want to still interpret this in his favor favor in terms of the interactions. I don't think you have a leg to stand on if you're trying to say that she's making anything up in whole cloth, there's nothing here. There's even a text from Baldoni that I know we've read before that is him saying she believes this stuff. She believes this thing.

0:38:33 Lydia: To the air, HR. Yeah. Yeah.

0:39:05 Thomas: And you have to actually account for that. Even if you wanted to be on his side of things, she believes it. And therefore she's not a raving lunatic liar hell-bent on taking over a film she yeah she is creeped out by him and by heath and possibly others like some other stuff that happened and other people are as well and it's like it's so much more parsimonious that she had a genuine problem with what was happening here and she tried to solve it in light of all all that, how do you factor in that she described this one scene inaccurately? Well, I don't know. I just think like, yeah, on the whole, not great that she did that. Kind of sucks that she described it that way initially, but it's back to my example of like, did a guy punch me in the stomach or did he like kick me inthe shin? I mean, either way he did something like it doesn't, it doesn'T make me on the side of the shin kicker guy now, you know, like it would just be like, Like, oh, okay, you kind of, you know, clearly you were mad at that person, so maybe you, like, described it in a worse way. That doesn't make him better.

0:39:15 Lydia: Twirling her mustache. Yeah. Also think it's really interesting in his complaint. Know I read through this, but it says, At some point, Heath and another producer, irritated, called Baldoni aside to express They can't capture the intended shot because Lively wouldn't stop talking. Was instructed to somehow get her to stop. So when I when I see that the intended shoot, I'm really wondering what that shot was. Is was it communicated to Blake Lively and say, like, hey, we're really trying to get this shot or is this created after the fact for the purpose of their complaint? Or was the intended them kissing and that wasn't cleared with consent beforehand or involving an intimacy coordinator? Like what what is that shot that they were so intent on getting that they weren't able to get or did it even exist?

0:40:53 Thomas: And they got that within five seconds. The first thing, we talked about it, the first, we can go back over it. The first part of that is he The Kissy Almost Kissing Thing. She didn't say anything. She went, said she, it many times, she kind of reacted, I think, in the moment as an actor, as like she was almost going to just like kiss him back, kind of almost. And they got that shot.

0:41:14 Lydia: There was like the smile and yeah.

0:41:15 Thomas: That shot is gotten. That was the first shot there. Yeah. And that was pretty much all that was used was that. No, that's incorrect. A good thing to call out. Like way of describing it seems completely full of shit too. Too. And so in full context, I admit I feel Like her comment on his nose was like not great.

0:41:17 Lydia: Used. Yeah. Agree.

0:41:35 Thomas: Feel like that was a little like, you know, kind of rough. Be like, hey, you need to get plastic surgery on your nose, essentially. In context though, mean, that, I feel like I'd be mansplaining, but don't you feel like that's her trying to kind of shut him down?

0:41:49 Lydia: Being like I'm not attracted to you.

0:41:51 Thomas: Like, like really, like, is he not getting the message? Cause that happens after he has the thing of, sorry, I got lost and also makes that weird fucking noise. That's weird. Like I genuinely wouldn't look, I'm not going to get all conspiracy theory, whatever. And it's not even really conspiracy theory. I'm not going to get all psychoanalyzy, you know, and be like, he actually wanted her and was rebuffed. I think that's impossible.

0:42:15 Lydia: I don't really care about that.

0:42:17 Thomas: That was what I was going to say for a, I don'T think that'S impossible, honestly, but also it doesn'T matter. I think it'S not unreasonable for her to be thinking that might be what'S going on based on what on the, I got lost. He'S adding stuff. He's ad -libbing more contact than is even in the script by a lot. Not he's giving her attention that she doesn't want and he's doing this stuff yeah and like I wouldn't blame her for thinking like is he trying to fucking like hit on me or something like what is happening and that's a workplace she shouldn't have to put up with that and so I think that comment on his nose you know for one it does seem like she's a roasty person like maybe that's just kind of the roasty stuff they do like honestly some people are like that You know, yeah, it's freaking Ryan Reynolds.

0:42:36 Lydia: In the middle of the night to like all hours. Yeah yeah from my understanding her and Ryan Reynolds both like. Like that that that is them. I mean, you see them like roast each other all the time, too. So, yeah, that's

0:43:06 Thomas: Like, yeah. I, you know, if all other context, like just is just a social interaction we're seeing where she makes a joke about some guy's nose and, you know, take some, like, I'd be like, yeah, that kind of sucks. I'm not really into that. You know?

0:43:16 Lydia: Rude. Yeah.

0:43:17 Thomas: Yeah. It's not, it's not like a crime, but it'd be, like yeah, you know, it was those people in your life where you can tell they're quote -unquote joking, but they're also not, and they're trying to say things that are a little bit critical and mean. I'd just be like yeah that's a bummer. I don't like that. But in this context, you, don't know. Like she might be trying to send a message like I'm not interested and how like it's so awkward to have to do that not

0:43:40 Lydia: And I do see, you bringing this up about her saying, you know, basically implying he should get plastic surgery. No one ever talks about how he like calls out Jenny Slate's nose. Yeah like that's why we cast her as my sister, you you know, etc, etc. It's like, you know are and roasty? Is this like, is this a comfortable is this an interaction that's okay from both sides?

0:43:50 Thomas: So specifically like had it ready I jewish so it's like kind of kind of uncomfortable in that way like picking instantly in his mind that's where it went I it feels that feels weird to me yeah

0:44:06 Lydia: It know. I think from all angles that is like a really weird interaction and jokes that aren't, yeah.

0:44:19 Thomas: I don't think his is any better than hers

0:44:21 Lydia: Yeah. It's just, yeah, stupid.

0:44:21 Thomas: Like if anything that's that's uh minus some know harry Potter house points whatever trophy for both of them like minus five points for Gryffindor and Slytherin whoever whatever whatever. That is that honestly, I feel like that's pretty offensive to be like nose. Uh, the Jewish person in the cast has a big, like instantly, like that'S instantly his go -to. I don't know. That's kind of problematic in my view, but whatever, you know, like we can call that a wash, I guess. But yeah, like I, I find that to be understandable and especially in the actual context of this shoot and how it's gone so far. There you have it. I mean, I mean, this footage, I think, was a real victory lap for him and for people who agree with him. And I think it's still referenced as in Baldoni fans minds, this completely exposed her as a liar. I just don't think that's fair. I don't Think that's Fair based on the real context. I think again, not as somebody with any skin in the game. I'm happy to say that. I think she fucked up. I think She described that wrong. I Think she might have been maybe I think think it's more plausible she's misremembered but like yeah she fucked up okay what if you're a detective trying to get to the truth of what happened and not just trying to defend one person or the other it looks sure looks way more like well she fucked Up but yes there was all this other stuff going on like this underlying stuff that was bad behavior and that to me puts her more solidly in the right or more importantly Baldoni more solidLY in the wrong yeah

0:45:45 Lydia: Hm. I think also something that we didn't really touch on yet, but I is important is when people watch this footage, they see it as she's falling for him.

0:45:58 Thomas: For for fuck's sake. Really?

0:45:59 Lydia: Yeah. And and that like she's developing feelings for him and, you know, she's having a good time, et cetera, et cetera.

0:46:03 Thomas: And yet she says, let's not kiss. Can we stop kissing? Can we not kiss?

0:46:07 Lydia: And I just yeah, I just feel like that that of that is so without any like nuance or understanding of acting or understanding of how human beings interact of how women interact with men when they're in uncomfortable situations. So I just want to like flat out say that.

0:46:15 Thomas: It's silly. Yeah. Yeah, I also think the server is falling in love with me, by the way. Right well that's my That's my honest, uh, I think is a reasonable view of what happened. Um, think this was a small knock on Blake's credibility, but largely is also consistent with her overall, excuse which is she was uncomfortable. Again, the fact that she moves away, she says, let's, then we talk, let'S just talk. Can we talk? Can we do talking? That's pretty consistent with what she's been saying. The fact that he sent a text that night saying this sucked. I came home crying. The fact that she filed a complaint, tried to file a complaint with Sony two, three days later, like that's all consistent with someone who was made to feel uncomfortable.

0:47:03 Lydia: And I mean I will say the Hollywood Reporter ran an interview with an intimacy coordinator who watched this footage and their position is very similar to what we've just talked about. That uh clearly haven't discussed the kiss ahead of time she keeps pulling away clearly and clearly doesn't wants to do that um intimacy coordinator would have gotten involved to say like hey what are you going for here in this scene and then worked with the actor um the other actor to to have that conversation to see if that vision could be met etc etc um that you know the power dynamic like yes she's blake lively but in terms In terms of hierarchy on set, he's in charge. And so that is challenging. She's supposed to take direction from him, etc., etc. I just I think that, you know, neither one of us has that specific type of background. Knowing like for someone who does have that specific kind of background to have watched this and commented on it, I think is valuable, too.

0:47:55 Thomas: Line is what the script said. Slow dance. Didn't say anything about all this shit. So, Well, I hope I made my point, but here, let me repeat myself 17 more times. It just drives me nuts. It just drives me. It's the classic thing is just lose all the context, especially I'm like, the more I think about it. And I don't think this is actually repeating much of what I said back a second ago. It's really the nature of of this thing. We talked to a lawyer about this early, early on, and this is very basic sexual harassment stuff. You can either have one or a few very serious instances, or a pattern of like, for lack of a better word, less severe things. Those are the two ways, speaking, of sexual harassment in California specifically. Was that California lawyer we talked to not on not on the mic it was you guys didn't hear it but we yeah we talked to her about this and she said that was you know it can be it's very basic you know this from hr trainings and stuff like probably people a lot of you it canbe one or two or whatever small number of severe severe things or a pattern of less severe things and so it's so easy to take the instance where it is a patternof things that are you know again like they're not they're They're not like flashing. They're Not groping and none of that stuff. It's a pattern of less severe things, but that suck, you know, like, and it's so easy to just isolate one of those things and say, oh, I'm sorry. I'm Sorry. Are you a victim? I'm, sorry. Are you survivor? Oh, wow. What a hero

0:48:49 Lydia: Background. Mm -hmm. Yep. Yeah.

0:49:30 Thomas: You are for surviving. It was like, that's so Easy to do. But what if, what's what actually happened is as I illustrated in this episode, this This is day fucking four of like nonsense. It's one part, you know, it's so it's such an easy fucking trick to do. Just zoom in on one thing. Oh, calls herself a victim. And Can then you do the thing where you like the people, the real victims, the have been through domestic violence. You think that was hard? What Blake Lively did in that scene? You know, like it's like it'S so easy to do those stupid emotional appeals that just really missed the point. And you know what I was thinking about having edited this and listening to what we said for 400 times? Think on a very basic level, it's also just too much focus on Blake.

0:50:10 Thomas: Forget that for a second. And just think like, even if, even if you wanted to say that, like, you know, maybe Blake's like, tuned a little more sensitive than I would be. Even if you, you Know, I don't think that necessarily, but even if you wanted to say think like, what you're really saying is, yeah, it should be fine that this set was this way. It should be fine that Baldoni did all these things. It should be find that Heath did all these things they should just be allowed to do that you know like it really does show how much of what people are really doing what our society or woman hating society is doing is just like is this victim really like good enough you know like are they really they really deserve sympathy and part of me wants to be like well even if you thought it wasn't like that big of a deal does a man just deserve to do whatever sexual harassment they want even if it's not like the the worst sexual harassment ever? Or does make more sense that we should focus on like, hey man, that wasn't super cool. Don't do that. You know, like that's where the focus should be. Anyway, I won't belabor that. You know you found a clip that after we recorded this that pretty much said everything that I said. So we should play that for fun. I was kind of shocked at how much it was the same.

0:51:14 Thomas: Wait, this is from some sort of filmmaker? I don't know who this is.

0:51:17 Lydia: Filmmaker. I there's like a whole story here that I only saw like in passing, but apparently he did a film with Toby. Leonardo DiCaprio and folks way back in the day and somehow it got like shelved and he just wrote a book apparently about his experience with that and like the bullying he experienced. So anyway, he's a he's an independent filmmaker and watched watched the footage and commented on it based on his experience as a filmmaker and a director.

0:51:31 Thomas: Weird. Let's see. You've heard all the bad takes or a lot of the bad takes. Let's see if we can hear a good take.

0:51:46 Clip: I can't believe how many people are being gaslit by this Blake Lively situation. This video that dropped by Justin Baldoni only proves everything that she's claiming. If you read the script, which they so generously provided in their so -called shocking dump of a video that proves everything they say about Blake Lively, it doesn't. It proves everything Blake Lively is saying about them. Exterior bar night, said the script. Lily and Ryle slow dance in the bar. Patrons around them drinking and watching sports. Completely in their own world. Those are the three sentences that constitute scene 40, which is an interior bar scene and the video that you guys are all watching. There is nothing in that script that says that he's going to put his thumb in her mouth or flick her lips or play with her lips. None of that's in there. There's nothing in here talking about smelling her. There is nothing about kissing or attempting to kiss her .There's nothing about getting their lips close together that's all stuff that he's improvving as they're shooting as her boss in an intimate scene and it's fucking inappropriate all these people are acting like this is proving justin baldoni's case and it'S NOT it makes him look like a fucking creep it's just disgusting and what makes like what why is that even sexy god he's in a sports bar you

0:53:04 Clip: Guys are being gaslit by justin baldoni and his attorneys she's gonna have a heyday in in court with this a heyday. There's absolutely nothing in here that provides for the things he's doing in the scene. It's fucking crazy, bro.

0:53:04 Thomas: That is kind of funny. No. That's glad I'm I ended where I ended, which is the script says moops. No, I don't know. The script says slow dance. I'll be honest, I don't know. I don'T know like what the norms are. I'm not in Hollywood. And maybe it's true that there are plenty of cases either way. You know, maybe it's truth. There are films where, or sets where like, you means you're going to improvise a bunch and maybe not. Maybe Um, it is more rigidly like, Oh no, you is what we're going gonna do. It's It's just going to be strictly slow dancing. For one, I love the point. I think, I don't remember if I said it, but yeah, like why why are they slow dancing in a sports bar?

0:53:54 Thomas: I mean, is that in the script. So it's not like whatever, you know, whatever. It's Just Maybe the script is weird. But at

0:53:53 Lydia: Well, I'm like in Boston, like such a sports city. And apparently this is a game that matters. Like there's a lot of people really interested.

0:54:05 Thomas: Can you get out of the way?

0:54:07 Lydia: It yeah exactly that would make it so much more believable

0:54:08 Thomas: To watch the game. Fuck out of here. What are you doing? It's like, what, what? Why you slow dancing? And look, okay, they're lost in their world. They're slow dancing. So that part, I don't blame Justin for within that scene. But I will say that that lends more credence. It's not like, you know, setting, high school prom. Would maybe lend more credence to the idea that there might be more physicality, more almost kissing, weird, sensual stuff. They just had a sports bar. I don't. Why are they dancing?

0:54:40 Thomas: I don'T even know what that what that's supposed to be. Weird. Yeah. And so maybe if this guy is right, this filmmaker is right. I mean, I like you at least have a good argument for as the boss of a fucking workplace. Place, you better at least allow for the fact that maybe your employee actress that you're working with that has nobody else to really turn to in this situation isn't ready for a bunch of weird shit like that without a conversation and without an intimacy coordinator. But, you know, we heard a sane take. I want to balance it out with a little teaser of what we're going to do for patrons, because here's, I think, a counter counter counter. Here

0:54:40 Lydia: Very strange very strange

0:55:19 Clip: Manufactured

0:55:19 Thomas: We go. Point point counterpoint.

0:55:20 Clip: Media stunts and they claim that the video shows that she's leaning away and she's just asking for the character to talk because he does say at one point he's like should we kiss issue. We just talk again because he is now the intimacy. They are the intimacy coordinators because she declined one allegedly. And she's like, no, no. I think that it would be more romantic if we just spoke and got close to each other. There's nothing inappropriate when you watch.

0:55:42 Thomas: Okay. She declined one. So nevermind. Game over. Oh boy. I'm holding my tongue because yeah I look at me look at me I'm the intimacy coordinator now I captain phillips yeah you get the reference

0:55:44 Lydia: So anything goes anything goes now yeah yeah yeah okay man I have not thought about that movie in a very long time wow

0:56:00 Thomas: Think about it every day it's a really good scene toward toward the end though that I do think about from time time really good acting but anyway no gonna hold my tongue on this because we're saving it for the patrons we're we're going to let loose for patrons on Candace Owens' Candy Ass.

0:56:01 Lydia: It's beautiful yeah

0:56:15 Thomas: That's an appropriate use of that. No, because there's so much. Amazing. It's I can't wait to yell. Yelling behind the paywall. All right. Well, thanks fun. This Was Real Enlightening. Very interesting. Yeah.

0:56:26 Lydia: Yeah I learned a lot

0:56:29 Thomas: Yeah. Yeah. Right. Well, thanks so much for listening, gavel heads. Collect your gavels on the way out the door. We'll see you very soon for some other stuff. Don't worry. Not a part three on this particular thing. That covers it for the bar scene. We'll be on to a slightly different thing. All right, we got to get out of here, everybody. This is getting bad. Patrons. We'll see you on patreon .com see you there

0:56:43 Lydia: I say barf scene we'll see you before man gavel in hand