Lively v. Baldoni 42 - That's One Hot Matcha

Transcript

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

0:00:01 Clip: All rise. Court is now in session. Court is reconvened. I may be seated. Maintain order. The federal rise to face the jury and harken to its verdicts.

0:00:26 Thomas: Let's gavel in. Gavelinos, it is gavel time. Episode 42. I'm your host, Thomas Smith. That over there is your other host, Lydia Smith. Lydia Smith, how you doing?

0:00:39 Lydia: I just make you do the intros every time. Yeah, exactly. I'm in charge here. Do I need to try it myself now to see if I'm any good at it?

0:00:46 Thomas: I feel like you'd be pretty by the book.

0:00:48 Lydia: Probably. I think if I were leading it, yes. But when I'm like taking a backseat, then I'm the weirdo goofball that's like, yeah, that's true.

0:00:53 Thomas: Yeah, but you're also goofy. Yeah. I don't know. You also don't take yourself seriously. So it's like, maybe not. I dunno. We'll have to find out someday.

0:00:59 Lydia: I don't know. Yeah. We'll have to experiment someday.

0:01:01 Thomas: Someday I'll just sit here in total silence until you're forced to do an intro.

0:01:05 Lydia: I'd be like, hello? Hello?

0:01:05 Thomas: Except you never would. You just think I finally died.

0:01:09 Lydia: Are you there?

0:01:10 Thomas: Thank God

0:01:11 Lydia: I'd be like Facebook messaging you.

0:01:12 Thomas: The suffering has ended.

0:01:13 Lydia: Where are you? Are you in the bathroom?

0:01:17 Thomas: Anyway, what show are we on?

0:01:19 Lydia: Yes.

0:01:19 Thomas: Gavel, a pod. That's right. Yes. What are we coming into? Where do we leave off? Where are we going in this complaint?

0:01:24 Lydia: Oh, we're going to get the foot. Apparently we're gonna get Justin Baldoni's foot coming down. Yes.

0:01:30 Thomas: Oh, we're getting the semblance of a foot.

0:01:32 Lydia: Yeah. We're gonna see what that foot looks like when Justin Baldoni lays down the law.

0:01:37 Thomas: Well, it's so much buildup because like we've been set up to believe that he's going to be killed if he stands up to her. Like that he can expect some fucking what's the white powder that was in the mail after 9 -11 that turned out that was. Yeah, he can expect some anthrax in an envelope. And then that turned out to be like a guy in the CIA or whatever, in the FBI.

0:01:45 Lydia: Yeah, anthrax. Yeah oh really?

0:01:54 Thomas: Like, yeah, remember that? It totally was. I know nobody did.

0:01:55 Lydia: I don't think I ever followed up on the end of that story. Huh weird

0:01:59 Thomas: It actually was just a guy who was in one of those things. Anyway, point is, Baldoni can expect like a horse head in his bed, you know, like that's if he stands up to Blake Lively, he stands Yeah,

0:02:10 Lydia: Blake Lively but yeah no we get the foot and then um we find out if he's dead or not as the story continues and as the strike ends and we supposedly resume production what happens

0:02:23 Thomas: Big cliffhanger, guys. Is he dead? We'll see. All right. Well, you would have already heard all of this at patreon.com/gavelpod. So make sure you're a patron and then you can hear all of us super way before the normies. We're catching up, though. We'll be in similar timelines. So sorry, normies, we'll get back to like the streams being similar starting next episode, actually. So there you go.

0:02:45 Thomas: That's on us. But anyway, thanks for supporting the show, patrons. And by the way, if you can't be a patron, we get it if you could share the show. You know, anywhere that anyone's talking about this trial. Anyway, after this break, we'll get to it.

0:02:44 Lydia: There yep yeah there you go

0:03:03 Ad: [Ad break 1 — ad music]

0:03:03 Thomas: So then July 20th, I think he slow rolled the response, you know, which, you know, fine. That is a way of kind of dealing with this, at least of like kind of signaling that you don't want to give her all this. And here it looks like he finally maybe tries to have some semblance of a spine. Read dailies. Obviously, you know I want your input. That's why I sent the five hour playlist. But at this point it's too early for me to share all the dailies. I start my cut in early August given the new editors and still going through the rest myself. Also figuring out our shooting plan as I have to cut and combine and find ways to scale down for budget. Once I'm physically in the edit and have touched scenes myself I'd love to share with you. I hope you enjoy this time off with your family. Talk soon.

0:03:41 Lydia: And then it looks like she responds

0:03:44 Thomas: But then he kind of well poisons here with 71 at that point lively reluctantly paid nominal lip service to the notion that Baldoni the film's director was entitled to the time and space needed for his directorial cut but continued

0:03:56 Lydia: Yeah so put that to the side and then tell me does this feel like the way that they've characterized it I don't want Want to infringe on your time with your cut, of course. Don't feel the need to send me cut scenes. I was just excited to see. Read dailies. None of the producers have had access to dailIES. It's just you. Yeah, she's, but she's like, I'm a producer too.

0:03:58 Thomas: To push so is that her calling out like this is kind of a bullshit lie here oh yeah does that well I never know does she mean yeah

0:04:18 Lydia: I mean, at this point, she is executive producer. I don't think she's pushed for the PGA credit at this point.

0:04:22 Thomas: And then 72 baldoni shared limited scenes with lively feeling uncomfortable all the while yet he already knew that he had to bow to lively's demands in order to get out the film and its powerful message

0:04:34 Lydia: Finally, he put his foot down. Finally. Sending Lively one final scene and then telling her he would not be sending any more cuts until he was finished with his editorial process.

0:04:35 Thomas: What oh oh really okay so I'm sorry a second ago you knew that you had to bow to demands and then literally one sentence later like but I didn't bow to the demands okay sorry back -to -back meetings all good love the excitement I'm excited to show you when time is right no not just me blank and jamie have access to dailies but not assemblies or cuts And that's it. Oh, is that?

0:04:53 Lydia: Yeah. Yeah. But I finally said no. Alex. Yeah. Wow. Check out that foot that he put down.

0:05:11 Thomas: Oh, so I thought you meant footnote. I was like, where? Yeah.

0:05:14 Lydia: No, it's just literally his foot that He put down?

0:05:17 Thomas: Well, is it the next one?

0:05:19 Lydia: Yeah.

0:05:19 Thomas: Or yeah, what even is that end of thing? Hold on.

0:05:24 Lydia: Okay, wait. So this next one, he does mention the edit. So let's let's give him Yeah, a month later.

0:05:28 Thomas: But this is a month, month later. So this is now August 25th.

0:05:32 Lydia: So the foot is starting to come down.

0:05:33 Thomas: Here we go.

0:05:34 Lydia: This is supposedly the foot landing the foot being down. Happy birthday, Blake. Coincidentally, today's the last day of my edit as we are closing the room until we shoot again. Again, it's been wildly successful, and I'm so happy. You are so fantastic in the film. I'm sending you over one of my favorite sections. I won't be posting or sending anything to anyone after this, but I'm excited to show you more in person when we come back. Please watch before Sunday as all PIX accounts get shut down on Monday until we are back up. Can't wait to hear what you think. Have an amazing day.

0:05:35 Thomas: Semblance of a foot.

0:06:03 Lydia: That's the foot.

0:06:02 Thomas: Okay, I want to see what happens here. What happens?

0:06:06 Lydia: Yep.

0:06:06 Thomas: So this August 25, based on what he has described, what we should expect is, first off, a guy in a suit and sunglasses to knock on his door and be like sure would be a shame if you didn't send her those like that's what we were to expect there's gonna be hell to pay based on his telling he can expect a mob hit like he's not he's in danger actually he should hide his family because he knows this is such a threat so wouldn't you expect that she's gonna blow up at him on this point and we're gonna get like this whatever we just get nothing that's

0:06:33 Lydia: Thank you so much for the matcha machine. That was very thoughtful. That's what she responded with. That's in the exhibit. Yeah. Yeah. But the way that they characterize this in the timeline is a day later, it looks like it's actually it's a week later.

0:06:38 Thomas: The next

0:06:47 Lydia: I don't know.

0:06:46 Thomas: Thing what is happening yeah

0:06:50 Lydia: Lively disregards the note about the film and instead thanks him for the matcha machine. OK.

0:06:54 Thomas: District what this is fucking crazy you're right because

0:06:56 Lydia: Like, do you think she should have been like, heard you loud and clear, boss?

0:07:00 Thomas: We keep doing this where I'm in the complaint and And I tell a thing and you're in the timeline and then we'll switch and I'm in the timeline, you're on the complaint and we'll have different ideas of what's going on. First off, it's really funny. So I was just reading what was in the complaint, which is just the have an amazing day, 825.

0:07:15 Thomas: And that's that's August 25th. So that's when he finally put his foot down after saying he knew he couldn't put his foot down because he would be killed. And then he did it anyway. One sentence later. But you point out in the time line in the exhibit, we get nothing in between that first little bitty foot of, oh, no, not just me.

0:07:35 Thomas: Blank and Jamie have access to the dailies. I can guarantee you that if Blake sent back, really sure would be a shame if I didn't get access to anything. If she sent back anything like that, it would be in here because the case he is trying to make is that she is shaking him down. Literally, she like they are trying to say this is extortion and the takeover. It's one of the fucking like allegations is extortion. And there's nothing. All there is is a month and five days later, roughly or whatever, you know, from July 20th to calendar math, 825. So over a month later, he sends a message saying, happy birthday. And we just kind of read, you read that. Then as you know, the timeline says a day later, not true.

0:07:46 Lydia: Right. Extortion. Yeah, yeah. Yep. A week. Yeah?

0:08:15 Thomas: Six days later, Blake Lively says, thank you so much for the match machine. That was very thoughtful.

0:08:19 Lydia: But that's nefarious.

0:08:20 Thomas: Oh, and then he responded the next day. Maybe that's what they looked at. Like they looked up and they were like, that message to that. Yeah.

0:08:24 Lydia: Oh, maybe 831 to 9 -1. Yeah.

0:08:27 Thomas: So what? And then it's amazing how many different ways they can have it because she's intimidating him. She's demanding control. Troll. But then when she, it turns out, no, she's not because when he said, oh yeah, just not giving stuff to anybody, she doesn't say anything and doesn't care. And then it's like a point against her. It counts against her that she disregarded the note about the film and instead thanks him for the matcha machine. What?

0:08:50 Lydia: Mm -hmm.

0:08:51 Thomas: Can she possibly win? Is there any way that she can respond that isn't part of a plot to extort? Like what? She disregards the note About the film. What does that mean? What does that have to do with anything? But I just want to recap the narrative of him him saying he already knew that he had to bow to lively's demands had to in order to get out the film is powerful message because he's a saint but then literally next sentence he says well but he put his foot down and you know what happened nothing if you talk about it like it's you know fat tony from the simpsons came and said you got to pay me money from your register or else and then I knew that I had to pay and then the next thing is like well you said no and then nothing happens they're like well weird that doesn't make sense I was expecting something to happen if If you're building this up as this massive extortion campaign, it's so fucking retconned. I know, like we have the text to demonstrate that yes, they were uncomfortable with this, but I think the part that's retconed is it seems like maybe she was possibly just kind of asking for the reasons that she said. And somebody who's whispering in Baldoni's ear says she's trying to take the movie and trying to edit or something. Could be that. But then when he says, oh no, she's like, okay. At the very least, this demonstrates that when he finally grows an ounce of spine, that seems to work. So maybe that was the problem.

0:10:04 Thomas: Maybe you need to have an ounce of spine because the minute you did that, it worked.

0:10:08 Lydia: Yep, she backed off.

0:10:09 Thomas: But here's the thing. They're going to claim, no, no. Here's why. Here'S why she went radio silent. That's when she's like, all right, plan B. Get with the lawyers, form a fake complaint because nothing happens in between that supposed foot stomping. August 31st to October 17th is the next anything. Quite a while.

0:10:17 Lydia: Foiled.

0:10:29 Thomas: So on to paragraph 73.

0:10:27 Lydia: The WGA strike ended on September 27, 2023, and the SAG-AFTRA strike ended on November 9, 2023. Months before, Baldoni had made Lively's representative aware that they would continue pre -production in order to, quote, hit the ground running when the strikes ended. But Lively and her lawyers had been busy devising other plans during the strike. The same day that the SAG -AFTRA strike ended, Baldoni, the studios, and the producers were eager to resume production. Instead, they were met with an email from Lively's lawyer who sent Wayfarer an unsettling and unexpected 17 -point list of non -negotiable conditions that must be be met before lively would return to work

0:11:11 Thomas: I don't really understand all the emphasis on like here we were thinking we wanted to keep filming and not be accused of sexual harassment and then she accused us of sexual harassment like okay yeah I'm sure everybody who sexually harasses would want to keep doing what they're doing instead of being accused yeah what what is all the emphasize on that every single thing is written to be like maximally like be set

0:11:27 Lydia: And yeah and just keep moving on push through it yeah so

0:11:36 Thomas: Upon you know it's victim complex crap

0:11:38 Lydia: I think what's interesting you know trying to compare the narrative to the exhibit when we can this email from jamie heath to initially it was like to lively's manager and agent with like the schedule for when they were coming back on then the next thing so that was sent wednesday november 8th and then the Next Day November 9th Jamie Heath reaches out to lively lawyer about getting getting aligned. This is before the 17 -point meeting, isn't it? So Jamie Heath emails Lively Attorney November 9th, 2023 at 9:58 a.m. Hi, blank. Long time no speak. I hope you're well. As you might know, we're back in Jersey prepping for the last two weeks, hoping that the strike would end. And here we are. With that, I'd love to have a chat with you about moving forward and get aligned the best we can at this stage. Can you give me a ring? What a weird thing to say.

0:12:24 Thomas: Yeah oh weird yeah why aren't they aligned Aligned.

0:12:29 Lydia: And then hours later just hours later the email comes from the lawyers with the 17 point list

0:12:36 Thomas: Yeah, it's almost like a direct response to that email. Oh, you want to get aligned here?

0:12:40 Lydia: Yeah that is just really interesting to me like did he feel like something was coming like it felt off or

0:12:46 Thomas: Yeah, obviously they knew. Yeah. I think they definitely knew.

0:12:47 Lydia: So that wasn't unexpected yeah

0:12:50 Thomas: Baldoni had already apologized for stuff. I mean, I think They Could Sense things were bad. It's not unexpected. They have to make it seem surprising so that it's out of nowhere and it's like this attack designed to take over the film rather than what it actually was, which is genuinely felt stuff. Also, I know I pick apart their stupid fucking language, but the stunning list was drafted for the apparent purpose of of insinuating or outright claiming that Baldoni, Heath, and others had engaged in sexually inappropriate conduct during filming. Yeah, what is the point of that language? It's the weirdest thing.

0:13:19 Thomas: Yeah. I wrote a thing about you sexually harassing. This appears to be written to insinuate or outright claim that I've sexually harassed. Yes. See title.

0:13:28 Lydia: I told you that's what I was doing yeah

0:13:32 Thomas: See the subject of the email, you sexual harassing assholes. Not really, but like, yeah, I don't like what it's, they do so so much language like that. That is just the weirdest obtuse crap.

0:13:44 Lydia: Yeah man okay do we need to read this email from blake's lawyers

0:13:49 Thomas: Oh, like the email. I guess we probably haven't read the email...

0:13:53 Thomas: I mean, we've gone through the list. That's been a long time ago.

0:13:55 Lydia: List oh boy yeah Yeah.

0:13:56 Thomas: We've gone Through the list, but I think we should read the e -mail, because it's not long. Sexual harassers.

0:14:00 Lydia: Dear redacted Wayfarer team, with the tentative resolution of the SAG -AFTRA strike, we are writing to address how to handle a return to the set of It Ends With Us. It's no surprise to the film's producers that the experience of shooting the film has been deeply concerning on many levels. The complaints of our client and others have been repeatedly conveyed and well -documented throughout pre -production and photography.

0:14:22 Thomas: Repeatedly conveyed and well -documented. Out of nowhere!

0:14:26 Lydia: I have a hard time thinking that a lawyer is going to say that if that's not true. While we reserve all legal At this stage, our client is willing to forego a more formal HR process in favor of everyone returning to work and finishing the film as long as the set is safe moving forward.

0:14:40 Thomas: Boy, this sure sounds like being the ideal victim of sexual harassment and of unsaved work conditions hey we're trying we're not gonna fucking make a huge deal if you just fix stuff

0:14:50 Lydia: Just like consider it taken care of. Let's just get it fixed and get this done. In order for our client to feel safe returning to the production, we are attaching a list of protections that will need to be guaranteed and observed by the film's producers. If the production is unwilling to accept or uphold these protections, our Client is prepared to pursue her full legal rights and remedies. This letter is not intended to constitute a full statement of all facts and circumstances.

0:15:13 Thomas: And by the way hold on I think they accuse her of saying that means she's gonna like out them or something that could very well just mean I'm gonna sue you for breach and just like still get paid for the movie but not do it you know if this production is unwilling to accept or uphold these protections our client is prepared to pursue her full legal rights and remedies like I'm not I'm I'm not saying for sure, but like it doesn't necessarily mean I'm going to fucking sue you for sexual harassment.

0:15:39 Thomas: It could just mean I mean, get out of the contract, you know, because you won't meet my end of the deal.

0:15:43 Lydia: Yeah. No, that's a great point that it very well could be that. It also could bethat, you know, she initiates a more formal HR investigation. Who knows?

0:15:51 Thomas: Mm hmm. Yeah.

0:15:51 Lydia: You know, that stays private while it's happening. I'm sure it also stays confidential at the end of it, you know, so I think that's not them saying prepare, you know, to go to court or anything like that necessarily. There's a lot of things that that could mean. This letter is not intended to constitute a full statement of all facts and circumstances relating to this matter. It is not intend to be, nor should it be, construed as a waiver, release, or relinquishment of any of our client's rights or remedies, legal or equitable, all of which are hereby expressly reserved. And please consider the environment before printing this email.

0:16:22 Lydia: I appreciate that. And the email signature. It's not redacted. And so we can all witness that and keep that in mind as we're printing.

0:16:23 Thomas: Please consider the environment before PDF thing this and putting it out to zillions of people. Paragraph 76, I find interesting.

0:16:34 Lydia: Both wayfarer and sony attempted to revise the document to make it factually accurate being that their representation of set culture was inaccurate and sent comments through wayfarers attorney who incorporated sony's notes but lively's counsel's response made it clear that the list was not open for negotiation so I think we should talk about what that conversation was between wayfar and sony at least as far as what's been provided to us in the

0:16:58 Thomas: There's an email from Sony attorney to Jamie Heath and everything so long. Try to cut to like the important stuff here. Items 1 through 10, 15, and 17 are basically just, yes, of course, interestingly, I'm surprised that you all don't already have a negotiated nudity writer in place given the subject matter and content in the book, or am I misinterpreting her comment? Items 11 through 13, I'd want to hear more about what is underlying and what she's hoping to accomplish. That's about like another producer and empowering Alex. Don't worry, we've gone through the list, but obviously people probably have forgotten and don't have it memorized. We're going to go through it again because they have excuses for all of them and we're going to talk about it. Item 14 is another question mark since it sounds like she approved the engaged stunt double. So it's basically Sony clarifying, but I think the important part here is further as discussed, the overall tone of the response has to be part denying the underlying insinuations allegations, but doing so in a way that doesn't inflame or escalate further since most of what's on the list Wayfair is acknowledging slash addressing.

0:17:58 Thomas: I think that seems kind of important. It's interesting that that's Sony's lawyer working with Wayfarer. They do want to be like, we have to deny some of this stuff, but also they are working on some of the stuff and, you know, recognizing the situation they're in.

0:17:58 Lydia: Timeline

0:18:12 Thomas: But importantly, the email doesn't say, well, there's a whole load of horse crap. It's all lies. She's just trying to take over the movie. That's not what it says. Does. Yeah.

0:18:11 Lydia: Right yeah I mean the vast majority they say yes of

0:18:23 Thomas: And to be fair to them, I think they're trying to make like the list is, hey, no large hanging anvils like over the set with Acme written on them. And then they're like, well, yeah, obviously. Like they're Trying to make it out like it's all like that. No open vats of acid, you know? And they're Like, yeah. Duh. But I think it's hard to make that case entirely. You know, maybe on a few points here, there, maybe. But like, this isn't normal. This This isn't a thing that happens, you know, and the fact that this would even be entertained means they know and we see in text evidence, they know what's up, like they know what's happening. They know they have problems. They try to say like, hey, we have questions slash stuff we're not going to agree to. Blake's team says this was not intended as a starting point for negotiation. These need to be in place or they're just playing hardball, which I get. They're like, we're just saying take it or leave it, essentially. And then because of that, they say it was clear Wayfarer would have to sign the document as is, despite the falsity of its insinuations. Well, no, you don't have to. You could say, no deal. This is false.

0:18:30 Lydia: Course yeah yeah yeah no no not at all right

0:19:26 Thomas: And if it was false, what are we talking about here?

0:19:27 Lydia: Yeah then let her do the formal hr investigation where you're going to be

0:19:30 Thomas: Yeah, exactly. That's the thing that you can't get around. If this really was out of nowhere, truly, this is just an insane person, apropos of nothing, just comes up with like an entire list of lies and says, sign this or else. You'd be like, okay, I think we're done here. We'll recast you. Duh. It's one thing to try to gesture out like, well, we knew what would happen. She would go to the press and she would make up stuff and whatever. It is one thing for some guy to be worried about, but a team of lawyers, they are going to be like, yeah, well you cannot just be blackmailed into signing a false confession. They are not going to let you do that.

0:19:47 Lydia: Cleared yeah

0:20:08 Thomas: They are probably going to say, well if this is all made up, yeah she can try to do that, but you will just sue her for defamation if it is actually defamation. You cannot just just be bullied into signing a false confession of stuff. That's nonsense. So clearly this team of people, including lawyers with two entities, Sony and Wayfarer, are like, boy, we got problems here. This is a delicate situation. I think we'd better try to deny everything we can just for legal purposes. But ultimately, if you're committing to fixing some of these things and making them better, we're going to have to go with it.

0:20:07 Lydia: Yeah yep exactly yeah and from like what we know they were not contesting most of this stuff of the 17 point list there is one thing at at least in their email back to Lively's counsel, where they say, we cannot agree. There are other ones where there's, you know, a handful that need clarification or they're trying to limit certain things or whatever. The vast majority are just stated agreement. Agreed, agreed, agreed. Agreed.

0:21:06 Thomas: Yeah, and those are agreeing to things that are going to be going forward. So their excuse would be, yeah, sure. Going forward, no anvils, you know, no vats of acid. And it's just, I guess, technically speaking, you can make that argument, but like, we wouldn't be here if this was all fake, if it was all that.

0:21:27 Ad: [Ad break 2 — ad music]

0:21:27 Thomas: I think we can't avoid, and it's actually seems pretty important and key to their case. The next long ass amount of this complaint is the point by point through that 17 point list. So let's go. Here we go. Let's see what their excuses are. 78 to illustrate the distorted and downright fictional bases for the 17 point list of demands. Each of them is addressed in turn below.

0:21:48 Lydia: Okay, here we go. Point one, intimacy coordinator. Lively demanded that an intimacy coordinator be present at all times when Lively was on set. In fact, an intimacy coordinator had already been engaged during the first half of the the production, so Wayfair took no issue with this request itself, despite both Lively and her attorney knowingly insinuating there was not one.

0:22:07 Thomas: All right. We've already, yeah, go ahead. Yeah.

0:22:07 Lydia: Okay, they were not. They did not insinuate that there wasn't an intimacy coordinator engaged in the movie. They're saying the intimacy coordinator was not on set in which scenes were being done that should have had an intimacy coordinator. Come on.

0:22:22 Thomas: Plague Lively is demanding that the safety harness be actually strapped to her to be actually safe.

0:22:29 Lydia: Not just over on the side.

0:22:29 Thomas: And they're like, they're trying to insinuate that we haven't bought the safety harness, which is sitting over there in the box. It's there. They're trying to deny that we've bought one.

0:22:38 Lydia: That's exactly what it is. Unbelievable.

0:22:40 Thomas: Stupid. They think people People are this stupid and they're right about a lot of people.

0:22:44 Lydia: And then they just talk about, you know, the intimacy coordinator meetings, et cetera, et cetera. And then scrolling down to paragraph 80, although the presence of an intimacy coordinator is not a Screen Actors Guild rule, but rather a recommendation, Baldoni was eager to engage one from the start to ensure talent, himself included, felt safe during intimate scenes. It was also important to him that the intimacy co -ordinator be a woman to help craft sex scenes that would speak to the mostly female audience of the book, I .e. be written from the female gaze, a fact Lively later mocked in both her complaint and her CRD complaint. Okay, it has nothing to do with anything at all. And I want to just say this here that them putting in their response here that the presence is not a rule. It's a recommendation. It is all dependent on what the actors want, right? Like if you have actors on set and the production is like, well, well, it's not a rule. It's just a recommendation. So we're not going to have an intimacy coordinator. I do not think that would fly. I think the whole point is that the intimacy coordinator is engaged based off of the feedback of the people who are actually doing the intimate scene work. And if they want an intimacy co -ordinator, they get an intimacy coordinators. So it's like a rule for the Screen Actors Guild, but it's because the actors that are involved determine it, not the a production company not the director

0:23:18 Thomas: Does it have to do with anything? Sure.

0:24:09 Lydia: And so this just feels like a really misleading sentence here and then an opportunity to prop up baldoni is like it's not required but baldoni like was very eager to use this because he is very interested in safety on set etc etc yeah

0:24:24 Thomas: But it's all just a distraction from the fact that we know what happened is already what you said, which is they had an intimacy coordinator. She wasn't there for important scenes that she complained about where stuff was improvised because there wasn't supposed to be intimacy. So they weren't there. And Blake's saying, no, they got to be there all the time. So this is all just subterfuge. Forget everything else. Let's look at the raw data. Data. Nowhere does Baldoni argue that an intimacy coordinator was actually there. They're playing lawyer tricks. Blake is complaining that one wasn't there at times when she needed it.

0:24:56 Thomas: So she's saying now one will be on at all times. End of story. Like there's no, you can't argue. Well, they're trying to hide the fact that we really liked having, and it's like, that's not, she's saying this for a reason. It's because they weren't there and we know they weren'T there. Nobody's even alleging that Blake is lying about that. The intimacy coordinator wasn't fucking there. They're just trying to play lawyer games.

0:25:15 Lydia: Yeah and this is also like such a small point but just bugs me it was also important to him that the intimacy coordinator be a woman yada yada most of them are women so I don't really know what you're trying to do

0:25:24 Thomas: Who cares? Yeah. It's also like he just his credibility. They were just trying bolster him as super feminist man. And it's like, yeah. Except the other thing is it wasn't important to him that the intimacy coordinator be there when he improvised intimacy before Blake was ready for that.

0:25:33 Lydia: There male feminist yeah yeah it was just important that he has like the meeting where he gets to write down all of his notes about orgasms and then and then send her on her way

0:25:47 Thomas: This is, this is look over there. Jingly keys, jingly keys. There's no, there's no arguing with the facts here. All right. Point two.

0:25:56 Lydia: Limiting review of intimate scene footage to those with essential business reasons

0:26:00 Thomas: Tell you what, it's not going to add that much to what we're already doing. I'll just read what the actual thing was. Two, with respect to artists, any and all rehearsal, filming, reviewing of video playback or dailies and or any other interaction with any scene involving simulated sex, nudity and or partial nudity shall be restricted to those persons with essential business reasons for being present as approved by artist and Todd Black as further described in the nudity writer attached as schedule one here to nudity rider.

0:26:27 Lydia: So then they've summarized it by saying that the only people who should review view that scene footage are people who have essential business reasons

0:26:35 Thomas: Yeah, because that was pretty horrifying, as she alleged that like the parts where she was possibly partially nude in ways that might have been embarrassing to her was being like broadcast to people. Yeah, that's a major concern.

0:26:44 Lydia: Yeah broadcast on all the monitors yeah yeah and so they're setting this up as you know well this was already standard practice in the film industry and in practice on the film set so Wayfair readily agreed to this demand though without any reason to believe that the demand was made in response to any inappropriate

0:26:58 Thomas: Oh, sure. Yeah. Not any reason to believe.

0:27:06 Lydia: Conduct an incredibly specific claim to as part of the 17 point thing and they're like Like, oh, okay, sure, yeah, nothing like that ever happened. It's weird.

0:27:15 Thomas: They also say, despite having filmed for over a month and despite having been provided a nudity rider and the opportunity to negotiate finalizing sign, Lively had never asked for a closed set. That's not what she's asking for here.

0:27:26 Lydia: And previously, too, they're saying this is already standard practice in the film industry.

0:27:31 Thomas: Then why would she have had to ask for a close set stupid

0:27:35 Lydia: However, production had always adhered to this and had no problem agreeing to this demand.

0:27:40 Thomas: Wait a minute then it says for clarity no intimacy scenes were even shot prior to the november 9th return to production demands

0:27:46 Lydia: Yeah, they were just thinking about the sex scenes.

0:27:48 Thomas: That's absolutely so that I love this this is great so here's what happened folks they didn't have the fucking intimacy coordinator when they needed to the birthing scene right no intimacy coordinator the parts where baldoni allegedly improvised kissing no intimacy coordinator and they are using their fuck up to say there were no intimate scenes shot prior yeah none that you invited the intimacy coordinator for because you decided they weren't intimate scenes she is saying yeah they were we needed an intimacy coordinator

0:28:04 Lydia: The improvised kissing. Mm -hmm. Yep, she had simulated nudity as part of this. The intimacy coordinator should have been there. That should be considered an intimate scene. What a lie.

0:28:31 Thomas: This is interesting the one simulated nude scene film prior to the strike break which you know that's misleading but going with them and the november 9th return to production demands was a scene that lively wrote knew of in advance and directed the action for and she never requested a nudity writer or intimacy coordinator for that scene what is that it also doesn't matter but I'm just more curious about

0:28:51 Lydia: Yeah, I don't think that would be the birth because she didn't write that. Yeah, and like you said, it doesn't even matter because the actors are who drives whether or not they want somebody to be there.

0:28:54 Thomas: It no there's no way yeah and it says directed the reaction for are they just picking something that might have had yeah okay I know we're going through this painstakingly but the way they lie is breathtaking to behold because now they're saying the one simulated nude scene she didn't request an intimacy coordinator for, but she wasn't requesting an intimacy coordinator just because there was a simulated nude scene. She was requesting it because there was spontaneous, improvised, non -consensual stuff going on. That's not contradicting her. They just use all these statements that play lawyer tricks to make it seem like she's insane or something. But why, I got a question. Why the fuck is she sending you this then?

0:29:30 Lydia: Non -consensual? Yeah. Yeah.

0:29:44 Thomas: Because your story is stupid. Your story, oh, she concocted a plan. No, that's fucking dumb. This is not a plan to take over the film. This is very genuine. We know it. You even know it because you said it in your text where it's like she does believe the thing she says. We know that you know it, so this is just lawyer tricks.

0:30:02 Lydia: Okay, so now they get into the non -essential personnel claim. This demand, as written, suggests nude or intimate scenes were filmed with non -essential personnel present. Later in her complaint, Lively alleges that during a scene, the birthing scene, she was, quote, mostly nude with her legs spread wide in stirrups and only a small piece of fabric covering her genitalia and that there were, quote non -essential persons present. This allegation is knowingly false. To begin with, to describe Lively as, quote mostly nude and, quote naked from below the chest down is dishonest. And then this is footnoted. If Lively is referring to her character being mostly nude, I .e. her pregnancy suit was exposed, her statement is misleading and still false. The only nude body part exposed were her legs. Lively was wearing black briefs and a pregnancy suit that covered her midsection and her top was covered by a hospital gown. Her legal complaint deliberately suggests she was wearing a small piece of nude fabric glued around her genitalia by stating this is, quote, generally what female actors use to, quote provide some minimal privacy without disturbing the shot. Leaving the reader to believe Lively Was only wearing the small fabric. Lively was aware of this birthing scene as she was heavily involved in writing, oh, okay, so this is, I guess, the scene, rather rewriting the script, and gave creative input for this specific scene, even against

0:31:14 Lydia: The director's creative vision.

0:31:16 Thomas: But before it said she directed the action of it, and so I don't think it's this scene. It's just giving creative input. I think they're using the fact that she probably had a bunch of little suggestions for lines in every single scene it sounds like she you know what I mean so like I think they're just using that to say like she was in control of it is my guess um she definitely I I don't think you would say she directed the action for this and they're not even saying it here so whereas they did say that earlier about the scene they're talking about you know I mean the

0:31:43 Lydia: Yeah. I just can't think what the other thing would be then.

0:31:46 Thomas: Bathtub scene I think it's a bathtub scene I bet you anything it's definitely got to be that so this is one of those places where I actually was thinking that maybe Blake Lively was being misleading with her complaint complaint because it does reference her legal complaint deliberately suggests she was wearing a small piece of nude fabric by stating this is generally what female actors use, leaving the reader to believe Lively was only wearing the small fabric. And I remembered like, oh yeah, I do remember that. I could see that being a lawyerly way of kind of implying something. I was like, maybe, maybe this is one where Baldoni has a point kind of thing. And then I go back and I do see that where it says in Lively's complaint, this is where they're trying to convince her to to be naked, according to her.

0:32:28 Thomas: On the day of shooting the scene which Miss Lively's character gives birth, Mr. Baldoni and Mr. Heath suddenly pressured Miss Litely to simulate full nudity despite no mention of nudity for this scene in the script, her contract, or in previous creative discussions. Mr. Baldoni insisted to Miss Lifully that women give birth naked and that his wife had ripped her clothes off during labor. He claimed it was not normal for women to remain in their hospital gowns while giving birth. He mansplained to the woman who's had four kids. Miss Linely disagreed, but felt forced into a compromise that she would be naked it from below the chest down that's the footnote 8 which says generally nudity below the waist in film utilizes a small piece of nude fabric genitalia etc etc to provide minimal privacy without disturbing the shot because the fabric is not able to have visible straps from profile camera angles and so you're like oh okay but then if you keep reading and this is important when the first scene was filmed the set was chaotic crowded and utterly lacking in standard industry protections for filming nude scenes so we've heard this but just why not such as choreographing the scene with an intimacy coordinator, having a signed nudity writer, or simply turning off the monitors so the scene was not broadcast to all crew on set and on their personal phones and iPad.

0:33:36 Thomas: It's very specific. Mr. Heath and Mr. Baldoni also failed to close the set, allowing non -essential crew to pass through while Miss Lively was mostly nude with her legs spread wide in stirrups and only a small piece of fabric covering her genitalia. So she also said that's what was happening. And then, if you remember, among the non -essential persons was, you know, Mr. Sarowitz, who flew in for one of his few set visits. Ms. Lively was not provided with anything to cover herself with between takes until after she made multiple requests. Ms. Lively became even more alarmed when Mr. Baldoni introduced his best friend to play the role of the OBGYN. When ordinarily a small role of this nature would be filled by a local actor, Ms. Lively felt that the selection of Mr. Baldoni's friend for this intimate role, in which the actor's face and hands were close in proximity to her nearly new genitalia for a birth scene was invasive and humiliating. So she just says it.

0:34:27 Thomas: It's kind of weird to like say she suggested it, but then she also said it. And I mean, I guess the only way that could still be true is if she's saying the only small piece of fabric was something else other than that, but I don't know. She just says and I believe her because this is incredibly specific and detailed detailed and talks about how she asked for things and didn't get it.

0:34:47 Lydia: Yeah, I can't imagine that, I mean, like, both of those things can't be true, right? That she was wearing a small piece of new fabric glued around her genitalia, and also wearing black briefs. Both of those things can't be true, right? So I feel like I'm going to go with the one that has the specifics. Yeah.

0:35:02 Thomas: No, I don't think she would have had a problem with it if it was, yeah. I think, so the black briefs thing, I have seen, this is sort of talking outside of court here, but I have seeing people that they look at the movie footage and there's black briefs and they use that to say that she was lying.

0:35:22 Thomas: But importantly, just already you could probably think of something wrong with that. If this is a birthing scene, she's probably probably not wearing black briefs in the same way that Jamie Heath says, Oh no, here's the footage I showed in that same way. The footage that you see in the video in the movie is not when she's giving birth it's before. And she has black briefs on.

0:35:28 Lydia: Why? Right, right. Hmm, yeah.

0:35:43 Thomas: So I've painstakingly reviewed the part where she's giving birth. There's no black brief because there couldn't be. And it looks like she appears to be naked from the waist down. I know obviously Hollywood magic, the only thing I can think of, and this is, this might be kind of funny. I don't know if anyone's specifically pointing to this hun, but she has on, you know, the, um, the baby heart monitor. Why don't you describe that for non -baby having people?

0:36:04 Lydia: It was external, I'm assuming. Yeah, so while you're giving birth, if there are concerns about the baby's movements and stuff, you wear straps wraps around your belly with, ah,

0:36:16 Thomas: Don't they just do that anyway?

0:36:18 Lydia: I can't remember if I've, if I had to have it because of the induced labors.

0:36:22 Thomas: No, I think they always have it on to measure contractions.

0:36:24 Lydia: Oh yeah, you're right. Okay. Yeah.

0:36:25 Thomas: Yeah. So it's all Lydia knows nothing about giving birth. It's actually kind of funny because like when you give birth, you're so fucking out of it that there are some things that I'm sure you don't remember. You know, we

0:36:28 Lydia: Sorry. Well, and like with our last baby, we ended up having to do the internal monitoring. So I'm, I'm getting confused to that. Yeah, yeah.

0:36:42 Thomas: Did see, I don't remember that. Wow. Wow

0:36:44 Lydia: Yeah they had to, cause he was moving around too much and they couldn't get it. It kept slipping. They weren't able to measure his heart rate.

0:36:47 Thomas: Oh it wouldn't yeah they couldn't get the fucking reading you know in the matrix when she's trying to get the bug out of him you know she's like it's moving she's targeting that was that was remy and that fits because that's still him holy shit holy crap he was so

0:36:55 Lydia: Yeah oh yeah, yeah it is. It's absolutely him.

0:37:02 Lydia: He was Remy from the womb to birth.

0:37:03 Thomas: Wow jeez that is really funny how that stuff is true because like he really he never fucking stops this guy wow so anyway that is involved it almost looks like nylons it's like that kind of fabric kind of it's like right something like that and that's around her belly I wonder if people are thinking that means she was clothed but it's actually just the baby heart monitor this I'm not sure but like I don't know how they're trying to call bullshit on this lie because in the movie she seems to be nude from the waist down oh there's another shot and it seems like she was nude from the waist down I mean it's it's not going super low so I guess if they're trying to say like it wasn't captured

0:37:10 Lydia: No, he's crazy. Yeah. Oh, interesting. Yeah, exactly.

0:37:41 Thomas: Enough for that like they kept the angle but like, why would she be saying this then?

0:37:45 Lydia: It's another way that Blake is then insane because a nude piece of fabric, you know, basically glued to her genitalia versus black briefs, and she chooses that. They're so different. For her to say that when it was actually black briefs would be an insane thing to do insane yeah

0:37:54 Thomas: Yeah, pretty different. Yeah. The only thing I can say is that footnote is a little weird. The only thing I can think of is she's trying to say that was part of her calculation of why she didn't agree kind of thing. It's an interesting footnote. Like, Why did the lawyers feel that needed to be footnoted? Like, I don't know. There could be something to this, but why is she complaining then? Why did she have a problem that she documented at the time? I just, like, it doesn't make sense.

0:38:28 Thomas: So there might be something fishy with a footnote, I guess, but I don't know. All right 84. I think is interesting and that's the last paragraph of this item I

0:38:27 Lydia: It doesn't make sense. Moreover, film footage clearly demonstrates that the set was not chaotic as she alleges and only quote essential individuals film crew talent were present for the scene and doing their jobs importantly lively knowingly and falsely alleges that the film's financier was present during these scenes and insinuates he was was watching her nude which he had no desire to do

0:38:44 Thomas: Guess we'll take your fucking word for that I don't know so fucking gross why do you have to add that

0:39:01 Lydia: It's very strange it's very strange that was steve how much you want to

0:39:02 Thomas: Which he had no desire to do maybe or it could just be Friedman like

0:39:14 Lydia: Bet that was steve like reviewing this draft and he was like I want you to put this in there because I had no desired to do this yeah

0:39:19 Thomas: Just it's such a stupid fucking accused man who's shitty thing to say you know what I mean and then

0:39:20 Lydia: He was not even on set during the filming of that scene he arrived later merely stopping by for a brief moment amid his busy

0:39:22 Thomas: Then busy business schedule, business, doing lots of important contracts, papers, and other documents in his business and stocks, busy business schedule.

0:39:29 Lydia: Business schedule it's like a muppets christmas carol business yeah and was present during the filming of a scene in which Lively's character spoke with a female OBGYN doctor, a scene in which she was fully clothed.

0:39:52 Thomas: So I don't know, maybe again, this is a, he said, she said, so that day. Yeah. And so if she said among the non -essential persons present that day was Wayfair, blah, blah. Blah, blah. Ms. Lively was not provided with anything to cover herself in between takes until after she made multiple requests.

0:39:57 Lydia: Well, they acknowledge that he was there the same day. Mm -hmm. Mm -huh.

0:40:12 Thomas: Here's the thing. It's possible that she's being slightly deceptive there. I guess, I guess it's possible or misremembering, but here's the thing. What we're seeing is people online who are reading this as a debunking, but this is just him making claims the other way.

0:40:17 Lydia: Or misremembering. Yeah. Yeah, this is the he said. Yeah?

0:40:29 Thomas: That's not, yeah, exactly. It's he said, she said, that's one thing that's really bothered me about this. And I've been been meaning to say it at some point. I forget if I have. It's a he said, she said. But what a bunch of people who are sexists have done is they got the she said, and then once they see the he said they're like, that's just fact.

0:40:46 Thomas: They're like she was lying. Why? Because he said she was.

0:40:46 Lydia: It's so depressing.

0:40:51 Thomas: Yeah, there's no evidence here. Like I'm granting maybe she is misremembering. Maybe Baldoni could be right about some of these facts. I mean that. Like maybe she's gotten some amount of stuff mixed up here. It's possible. We don't know. So the best you could do is say, well, I guess we'd have to see, you know, like that's the best we can do on this particular thing because we don't have anything else. I could say, I think we could do a little better in that. Why the fuck is she even complaining about this?

0:41:06 Lydia: Mmhm. Yeah.

0:41:14 Thomas: If it wasn't an issue, like if you have a view that women just make stuff up, then that's all different conversation. But if you Have the correct view that that's not a major problem and rarely happens. And usually women don't just make up in detail bullet point lists with their lawyers of fucking complaints that they also corroborate at the time with text sent at the time.

0:41:35 Lydia: Mmhm...

0:41:35 Thomas: That doesn't exist. So maybe she was wrong. Like, it could have been like there's a point here where she thought Sarowitz was going to see the footage and didn't. She could still be concerned about that. Yeah.

0:41:45 Lydia: Also, Sarowitz is one person, right? Like, she's alleging that there were multiple people that were there that were not supposed to be there, or viewing things.

0:41:50 Thomas: She also never directly says Sarowitz looked at her or looked at the thing. She just says a non -essential person was there that day.

0:42:07 Ad: [Ad break 3 — ad music]

0:42:07 Thomas: Well, that's where we're going to leave it for today. We got to, checking my notes, point two. We went through point two. There's several more points. We'll say, well, I'm not going to say how many. There's more points to get through, but we'll can we expect in point three oh yes

0:42:13 Lydia: Yes we sure did well let's see point three is labeled in the complaint anyway no spontaneous improvisation

0:42:33 Thomas: That's right we're gonna talk about the whole intimacy coordinator and not meeting with the intimacy coordinator thing and that's interesting we've talked about that before but I think there's some new wrinkles to it here this is like a couple pages of just that point alone so that'll be interesting we'll see how that holds up in next episode of gavel gavel so thank you so much for listening thanks

0:42:34 Lydia: Of scenes involving physical touching simulated sex or nudity which must be choreographed with intimacy coordinator yeah yeah you're

0:42:54 Thomas: Lydia tune in next time for more or gavel gavel well I found pulling aside the curtain I found that I don't want to say I'm like good at intros because I don't think I am but I have found that there are other people who are unable to is all I'm saying I'm not saying that's you necessarily but when I handed the ship over to matt on oa I discovered he doesn't know how to do yeah exactly then he just kicks right in but But he would just be like, okay, so here today, it's just like, man, I didn't think it was that hard to do an intro.

0:43:27 Lydia: Welcome yes that's no it's fair that's okay unless he unless he gets to do a punny one if it's punny he's great yeah all right love matt yeah

0:43:55 Thomas: So whenever you think my intros are bad, it is harder than you think, apparently. I don't know.

0:43:59 Lydia: Man do I need to try it myself now to see if I'm any good at it

0:44:02 Thomas: I feel like you would be pretty by the book, you know? I don't know. I don't know, my style may have rubbed off on you a little bit, I am not sure. But you could, like the newscaster type, you know, like, and here in episode 42, we will be... Yeah.

0:44:08 Lydia: Yeah could be could be yeah today we have a new topic to

0:44:18 Thomas: What is newscaster voice? I thought about that. My only exposure to it, my only exposure to it is John Oliver is when he's playing. I mean, nowadays, I mean nowadays. Yeah. When he's playing super cuts. Cause I can't imagine, I cannot imagine watching the news.

0:44:19 Lydia: Discuss oh yeah the super cuts mm

0:44:34 Thomas: I cannot fucking imagine watching The News. And then he'll play the super cut and I'm like, oh, they're still doing that. I would have thought like in the day and age of the internet and like like post -irony, whatever culture. Like I would have thought there's no way anyone could sincerely be doing newscaster voice, but they all do it.

0:44:49 Thomas: And now at 11, yeah. And so there's a bit of a protest has started over on the whatever. And you're like, what? Is that still how we're doing it?

0:44:48 Lydia: Yeah they're calling

0:45:01 Thomas: It's the ending, the sentence tone is what it is. No one does that in person. Hey, Lydia, how are you doing? No one Does That.

0:44:56 Lydia: It does america have a king yeah yeah I think it's also it's a broadness in the mouth itself right because you don't you don'T want it too bright too forward right it needs to kind of sit in in the mouse space yes absolutely career change oh yeah

0:45:17 Thomas: So interesting. Do people study this? This is something I'm only interested in, but no, but I, sorry, maybe like for, I want, do people study this from a music perspective from like a, cause there's something about the notes of that. That's like newsy or something. Cause it's like, no, But the end of the sentence has, it'll be like, and the trial continues on Saturday. You know, like they do that, like something about the end. I'm exaggerating a little bit, but they do like the end, the end is like, oh, I'm sorry. The end of this sentence is, so that's when they're continuing though. Like when they'RE ending the story, then they give you, and The Trial is set to continue on saturday no back to it yeah but like in the middle of the story when they're cutting like in between like interview you know and stuff like and we talked to a man outside the establishment you know they do that like weird it's like again I'm exaggerating a little but if you listen for it like I don't know why why that is like it's a weird is it the same thing as like accents is that all it is it's they have a regional newscaster accent because that's who they talk

0:45:50 Lydia: Back to you yeah Yeah. Because that's what they've studied. And like, that's, you know, it could be a combination of that. But I do think that there's probably something to be said about when people are voting for president, they're more likely to vote for people with a baritone or I guess for any position, right? A baritones sort of voice and like the leadership. Yeah. And I think it's something similar where it's like to be taken with authority. The newscaster feels like they They have to put on a voice, and that is the voice.

0:46:14 Thomas: To yeah like Like that's their environment of dialect is newscaster. I think that's the same point.

0:46:37 Thomas: Yeah. Yes. Yeah. I think it's both those things because it's like, why is the newscaster voice? Because it's newscaster, but like, is it, is it like that where it, once that was kind of established then to sound serious, you have to sound like that.

0:46:47 Lydia: Yeah, like Walter Cronkite, yeah.

0:46:52 Thomas: Otherwise, otherwise you're me and everyone's like this fucking guy. Yeah.

0:46:55 Lydia: And then you're a podcast. And not the news, yeah?

0:46:57 Thomas: That's somehow some people listen to, but I can't do the like structured podcast intro that I'm, was my point, my whole point back to gavel gavel. Well, if he stands up to the Don, he stands up to...

0:47:09 Lydia: Yeah, Dawn Lively.

0:47:13 Thomas: That's a good newscaster name. Don Lively here.

0:47:15 Lydia: Dawn Litely. Dawn Lifully reporting.

0:47:17 Thomas: We have Lydia Smith at the scene.

0:47:20 Lydia: God, we're such nonsense makers.

0:47:24 Thomas: If you could share the show, you know, anywhere that anyone's talking about this trial or newscaster voice, you know, if they're talking about newscaster voice and other very, very apropos topics, be like, oh, this episode of Gavel Gavel has the analysis on newscaster voice phd level analysis on this caster voice and we snuck it in here and it's your it's peer reviewed because you're our peers and you're reviewing it so we're doctors now anyway

0:47:27 Lydia: There's a lot of places on Reddit. There's, there's a whole lot of people on Reddit, there're a lot on Reddit Yes. Yeah exactly that's why you listen to us back

0:47:53 Thomas: Tune in next time for more gavel gavel local petting zoo has gotta do like the super dark one and then going into

0:47:56 Lydia: To you yeah yeah exactly and she died at the scene local petting zoo celebrates 30th anniversary yeah

0:48:13 Thomas: The yeah it's so hard to even come up with those stupid things are you egg -sighted for the easter holiday you know something like that some bullshit like that took 40 bullets to the head all at once hop on in to easter as the I don't know why I'm doing easter stuff what's the next holiday oh gobble gobble I mixed that yeah okay I should have been

0:48:33 Lydia: It's not. Gobble, gobble, gavel, gaVEL. Gobble gobble you gavel heads.

0:48:38 Thomas: Oh gobbled gobble in gobble Gobble in, gobbleheads. Yeah. Yeah. Can we even put this in the bloops? That's too, it's too. It's revealing too much of our plants. Gobble and gobble heads. Why did I go to Easter? That's how, that's how ruined my brain is. I don't know when I am. I don'T know where I am, but I'm, I'm in the South,

0:48:39 Lydia: Okay, wait. Put it in the pocket. Put it the pocket, we can't reveal our secrets. Oh my god, it's the best. Can't wait. I don't know. We're like literally 180 degrees away from Easter. Like that's basically where we're at. If the calendar were a circle.

0:49:05 Thomas: Uh, I'M IN THE SOUTHERN HEMISPHERE. That's why I'M, I 'M IN, SEE, I AM OPPOSITE. They celebrate Easter now in the Southern Hemisphere. That's why I'm totally, you know, some other side of things. No open vats of acid.