Lively v. Baldoni 52 - Baldoni Streisands Nicepool

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. You may be seated and maintain order. The federal rise has faced the jury and is arcing to its verdicts.

0:00:25 Thomas: Gavel in, gavel heads. It's Thomas. That over there is Lydia. It is a gavel -y, diddly -o -day.

0:00:31 Lydia: I literally have a gavel right next to me, courtesy of a Christmas present from one gavelino to one gavelista. Did you hear it? Yeah.

0:00:34 Thomas: Whoa! How do you have that? Oh, wow. That sounds pretty good. It sounds a little... Maybe in post I'll make it sound like epic, but it's a little thin. No. Because I already... I was debating bringing it up, but I already enhanced that so much. It's like awesome. I'm proud of my gavel work in the intro. I took a gavel sound and I did like what they do in the movies, you know, I like layered stuff. I think I layered it. I layered. It was something else. I can't remember what probably a T -Rex or something, you know, yeah. Which the T -Rex is famously like three different layered animals. What is it? It's like an elephant, a witch. Yeah. If you listen closely to the T .Rex of Jurassic Park, when it goes like in that sound, there's like a... Yeah, no, it's the sound. I would just love the idea. Throw a chicken in there just for fun because

0:00:47 Lydia: Oh, maybe I can redo our intro and the gavel. Okay.

0:01:00 Lydia: Yes, that's fair. Yeah. Yeah, you were the Foley guy. Yeah?

0:01:15 Lydia: It's usually a T -Rex. Oh a chicken. Okay in my defense my brain was visualizing a t -rex and so visually I was thinking plane and

0:01:45 Thomas: It's like a train I think it's like a terrain uh yeah No, it's like a train, an elephant and like a something else because you think in your mind oh yeah yeah it's probably part lion you know and then you're thinking like oh what a lie you know because the T-Rex I thought they actually recorded one from back in the day you know is when I watched Jurassic Park when I watched the yeah there's it was in like a wax cylinder that but somehow perfectly recorded the sound. When I watched that as a youth, as a lad, but no, I didn't think about.

0:01:49 Lydia: Automobile yeah interesting a lion a lion yeah yeah exactly they etched it into stone and then yeah exactly yeah yeah you're like oh that must have been a scientific discovery of like exactly what they sound

0:02:21 Thomas: But it's funny when you think about how crazy that sound is. It's like, it is pretty crazy. It's, like, how does it have that kind of vocal cord? And then I think, like later on, scientists are like, yeah, it probably didn't even make a sound. It's probably just like, you know, like how many lizards roar? I don't know.

0:02:26 Lydia: Like yeah yeah I don't know I mean it had a lot of teeth though so I feel like roaring comes with teeth teeth comes with roaring yeah Yeah.

0:02:42 Thomas: Yeah, true. And that's just science. Well, good thing we're not here to be scientists. We're here to be gaveliologists. Gaveliologists.

0:02:52 Lydia: Yeah. Say that again. Okay. That was better.

0:02:58 Thomas: This starts off with a fun... Occasionally we're like, let's give ourselves a treat because, you know, we've earned it. But also, we're going to get to Nice Pool, which is really fun. This is a fun, fun episode. Can't wait. We should take our first break, which you can avoid, at patreon.com/gavelpod. You can get the goodies. You can't get this so early. Again, we have created time travel. That's how much we care about our gavel heads over at patreon.com/gavelpod. They are in the future. You're in the past if you're not over there because they get stuff so much earlier. That's the benefit of the chunk system. There's upsides and there's downsides. The upside is when it all comes out, we give it to those gavelheads like all at once. Yeah, we know how. Yeah, exactly.

0:03:25 Lydia: You get to binge it like you know classic streaming style. Yeah fandom.

0:03:38 Thomas: We know how fan fan edge. What am I trying to say? Fan fandom. Thank you. We know fended fanage.

0:03:43 Lydia: Fandage. Oh boy.

0:03:49 Thomas: Fen feniment we know how fen fenament works you want to binge of course even casual fans binge stuff let alone the gavel heads over at patreon .com slash gavel pod so you can go there get all the stuff and get all and after this break we'll pick up with a fun just fun little nugget fun little treat about how about how just set upon baldoni is at all times you

0:04:07 Lydia: Yep. Yep yum yum yum. Yes. I

0:04:23 Ad: [Ad break 1 — ad music]

0:04:24 Lydia: Think that there are some really worthwhile details that are included in this entry, so I'm going to read it because I would like to roast a little bit. Baldoni's first full day of press began before 6 a .m.

0:04:29 Thomas: Know sure okay fucking well he woke up early case dismissed so weird

0:04:38 Lydia: I don't care. Yeah. Okay. Yeah, it's an early start. I get it. I hope you went to bed early last night.

0:04:46 Thomas: Well surely though as a listener lydia this must have some relevance to what's coming next

0:04:51 Lydia: Yeah well, I'll continue reading. Later that morning, he shared a link with Abel to an article on celebrity quote bullying that had appeared on his twitter feed given the circumstance that baldoni had found himself in the article's timing resonated with him as he was under the timing resonated with you or the article resonated with you

0:05:05 Thomas: What The article's timing, yeah? This doesn't make any sense. I love how they chose to post this at 8 23 or whatever ever a fellow early riser I don't know it's nothing it's I was joking no

0:05:19 Lydia: I've also had an early morning the timing has resonated with me as he was understandably feeling bullied so he took a screenshot and sent it to abel What time did he send it to her? 11 .47. Why are we talking about that? He was up at six. I was hoping that it was like because it was a 6 .13 a .m. text to Jennifer Abel.

0:05:39 Thomas: That's why I was being sarcastic there's no reason for him to say any of that shit it's so fucking weird people are so up their own asses

0:05:43 Lydia: No, no. So dumb. Yeah. But it is the Haley Bieber article, which we've discussed at length. So we can move on from those little texts.

0:05:53 Thomas: You know where he says like we need something like this yeah but we have covered that we've covered that go listen to the new york

0:05:58 Lydia: We have. Stay strong, hon. Stay strong.

0:05:59 Thomas: Times stuff yeah not gonna go into it.

0:06:01 Lydia: That evening, August 5th. So this is the same day. That evening, unbeknownst to Baldoni and Lively and the rest of the cast attend a meta -screening of the film.

0:06:08 Thomas: Unbeknownst, what's a meta screening? Capital META.

0:06:15 Lydia: Let's see. Oh, it's, um, yeah.

0:06:17 Thomas: Is that a union? No. What is that? I don't know what that is. Sure, we sound dumb, but I cannot figure out what a meta screening is. Capital META. It says possibly a word strategy shorthand meta is sometimes used informally to mean industry facing rather than audience facing. So it'd be like meta industry. You know, it's like that doesn't make sense.

0:06:37 Lydia: But why is it all capitalized? Because it could all be lowercase at that point. Like, what are the rules then?

0:06:40 Thomas: I agree with you. Is it a term of art? And if you If it's lowercase, you would just interpret it as like meta, like the word meta. Yeah. Who knows? Okay.

0:06:51 Lydia: Anyone involved in the industry is, like, laughing at us right now.

0:06:53 Thomas: Well, we spent an hour on this and got nothing.

0:06:55 Lydia: The event includes a Q&A session with Colleen Hoover and the cast, with everyone except Baldoni. This exclusion further highlights Baldoni's deliberate sidelining. Fans and journalists quickly noticed the absence of the film's director and co -lead, sparking online chatter and fueling rumors about tensions behind the scenes. The incident underscores the growing divide and continuing efforts to exclude Baldoni from the film. That's been happening throughout the entire press tour and stuff. They're just reiterating it here, that this event, that was a private screening, a Q&A session. Who are the fans that are at this private screening?

0:07:31 Thomas: And I was going to say, it might not even be fans. It might just be industry, which is slightly different. But I guess if there's a little bit of pictures on social media or something. But yeah, man, we get it. You're documenting how people didn't like you. And I agree.

0:07:40 Lydia: And Now it's the premiere, the actual New York premiere.

0:07:46 Thomas: Yeah. August 6th, I guess. Oh, this is the actual one?

0:07:50 Lydia: Yep. At the premiere of the film in New York, Baldoni is instructed to walk the carpet separately from the rest of the cast. However, he is quickly ushered off the press line when it is announced that Lively is on her way. Once inside the theater lobby, security escorts Baldoni and his family to the basement to prevent a potential encounter with Lively and the cast,

0:08:08 Thomas: They had to go to the basement

0:08:09 Lydia: Yep. Yep. They are then taken to a basement stockroom for holding while Lively Reynolds and the rest of the cast walk the pink carpet where they beat them. After the lobby clears, Baldoni, Heath and their friends and family are ushered to a small theater at the end of the hallway for a separate screening. How did this get turned into like that they had to attend their own screening in the basement? Wasn't that like the online rhetoric?

0:08:12 Thomas: Where they're beaten. Beaten oh oh is that not what they said let's see oh because it's the basement for oh for

0:08:34 Lydia: They say for holding and then they're escorted to a smaller theater. Theater I think it might have been yeah it might have been in like brian friedman's press tour that he did basically with this yes

0:08:37 Thomas: Holding that's true well that's because they I swear said it was a they had to go to the basement oh and then dale said it Was a green room right

0:08:50 Lydia: Yeah dale said this is like perfectly normal yeah

0:08:51 Thomas: Well no so that makes way more sense I was almost doubting dale just because of the fact that I'm glad you pointed out because they said it was like a basement screening and so I was like well in my mind I wasn't sure and it wasn't worth bringing up, but I was like, well, if they did have to watch the movie in a green room, that would still be weird. But I didn't know that. I'm so glad you caught this because I do think we'll have to track this down. But one way or another, I feel like we've all been led to believe it was a basement screening. But if it's like they went to the green room for holding, which is where you hold, that's where you wait.

0:09:22 Lydia: As any actor would know that's where you wait until it is time for you to make an entrance somewhere

0:09:28 Thomas: Yeah. And then they went into the greenroom and they were like, to a small theater. I love how it's at the end of a hallway. What does that fucking mean?

0:09:34 Lydia: Else yeah at the end of the hallway

0:09:38 Thomas: What does this mean other than sure they were at a separate screening okay I'll give them that but like they try to use all these other descriptors to make it sound worse a small theater well they could all be small I think at the end of the hallway is that bad if it was at the middle of the hallway what is that it's like all these little words they throw in there to try to sound more like sympathetic yeah

0:09:57 Lydia: Yeah but also like like small theater where all the people that are in your group can fit like who cares if if it's small.

0:10:08 Thomas: Did you have to turn people away because there wasn't enough seats more of this chatter intensified chatter intensify oh this is interesting oh wow august 7th you got to read this art this

0:10:15 Lydia: Which part? Which? Nathan. All right. Nathan texts Abel, quote, this is the time to make a decision on social planning. Would rather be in the front than in the back. And it costs way more in the back."

0:10:28 Thomas: Sounds hmm isn't that interesting

0:10:30 Lydia: Oh, wow. That kind of counters everything that you've said, that you've only been responsive. Abel responds, quote,"Do you think we need it?"

0:10:35 Thomas: I'm very curious to see the texts that are about to come and see how this goes but there's more of their description well

0:10:44 Lydia: Abel remains unconvinced that any changes are necessary. Nathan and Abel continue to do the work outlined in the TAG scope of services, which at this stage involved monitoring coverage and social conversations, correcting and updating stories and headlines in real time.

0:10:57 Thomas: Now that's interesting because a moment ago it was melissa nathan that was saying saying wait. And Abel was saying, I trust you. You're the one, blah, blah.

0:11:07 Lydia: Yes, master. Yeah, I take your lead.

0:11:08 Thomas: Yeah, literally sarcastically. And then now Nathan is saying it's go time. So interesting. So let's read what these actual texts are. This is, I don't think I know these.

0:11:18 Lydia: Melissa Nathan, I'm just going to say one thing. This is the time to make decisions on social planning. Would rather be in the front than in the back, and it costs way more in the back. That's all I will say, and I hope that I am 100 % wrong, but just have to flag you know that's my job. Jen Abel responds, do you think we need it from what you're seeing because we have also a planned response if needed considering all of the interviews he is doing between now and friday melissa nathan responds not this second but it's one of those better safe than sorry but from what I'm saying I don't think you need it this second from what I'm saying yeah but just want to be really really aware I am an over planner because you cut off yep

0:11:48 Thomas: I think she means seeing, yeah. Oh, well, that's cool. So they cut off what that is. Nothing to kill right now. Don't worry. That's interesting.

0:12:01 Lydia: Don't worry yeah so something happened in between those texts potentially yeah

0:12:04 Thomas: Wow. So there's so transparent though. So we can see that there's a cutoff. I'm an overplaner. Because you, cut off, next page, and then we only see the bottom of, we don't even know if it's that message, but it could be, nothing to kill right now, don't worry. Nothing to kill. That's interesting.

0:12:21 Lydia: Yep. Jen Abel responds, phew, thank God for you.

0:12:24 Thomas: Wow, so that sounds like she just described some action that she took. Who knows what that was? Okay.

0:12:29 Lydia: You're right that she maneuvered a particular story. And right now there's nothing else to kill. Just to be aware of this, Melissa Nathan, just to beware. Oh God, famous last words, Jen. This might be a fight, but we will come through it well. That's all that matters.

0:12:43 Thomas: What?

0:12:43 Lydia: And then what is the screenshot? So this is from, I guess, a reporter.

0:12:48 Thomas: Oh, just to be aware. Okay, so she's attaching a text that she received, it looks like. Oh God, famous last words. What are the famous last?

0:12:56 Lydia: Thank God for You, maybe?

0:12:57 Thomas: Oh no, it might might be nothing to kill right now. That's what it is. So she's saying, oh, great. Nothing to kill right now are famous last words because now she's forwarding this thing that is something they need to kill.

0:13:06 Lydia: Oh, I see. Yeah yeah yeah. This might be fight but we'll come through it. Well, that's all all that matters and the the thing that she forwarded is right

0:13:13 Thomas: We can only see a little bit. Just says, the beef between Blake Lively and Justin Baldoni and Colleen Hoover? And this is a text message. It's starting to show up all over TikTok that there's drama between them all. Also, they unfollowed each other. And then another message from the same person. It read that. What? Okay.

0:13:31 Lydia: I don't know maybe in the middle of sending another message or something that she or or it's whited out it might be whited out

0:13:36 Thomas: Oh, or is it whited out? That's interesting. Oh yeah, there's something whited up there. I think so.

0:13:45 Lydia: Because you can see it carry over into the gray bubble right yeah or it is just the really really really poor resolution and they do this to themselves yeah

0:13:51 Thomas: I don't know. And then we're still the same day and we get, again, more missing space. So keep in mind that the New York Times had all this stuff because this is Jen Abel's phone. So again, the idiots try to tell you that like, oh, there was nothing here in the New York Times, knew there was nothing here. But all along, they're sending you snippets that are very clearly edited and like they're inarguably way more selective and edited than what we got from the New YorK Times. And there's a lot of potential bad stuff here. So I think it's way more sensible as a member of the public to look at the two people. One is an entity like the NewYork Times, who, while not perfect, is not going to commit like it's wildly rare that they're committing like, yeah,

0:14:03 Lydia: Right good point on ethical journalism

0:14:38 Thomas: Like very unethical, dishonest journalism. It's happened, but it's a handful of times. Whereas the other side is the very people who have entirely in their self -interest to lie about what's happening. And we know that the New York Times has all the text messages and they know this isn't like them lying about something that no one can check. Or, you know, occasionally like there was that, what was that podcast that Caliphate where, yeah. It turned out that person was a liar or something. This is something where you're already dealing with a legal dispute. So when New York Times was writing this, they had legal the whole time. They're going to have gone through this. This is not going to be some rogue reporter doing bad reporting. So one of two things is true. Either there's way more in the messages we haven't seen that make this rock solid, or they're completely fucking lying. And everything I said is no matter how much they would have had legal involved, no matter how much this is obviously already litigious, no mater how much it makes no sense for them to lie for Blake Lively in this way.

0:15:18 Lydia: Caliphate yeah

0:15:35 Thomas: They just did it anyway for no reason. Why? Because once more, Blake got to another one.

0:15:34 Lydia: Right and it is it is not even just like a single person that she got to, she would have had to get to a lot of people within the New York Times.

0:15:47 Thomas: Yeah, it just doesn't make sense. And the fact that we're getting selective text messages that these look bad. This is them saying, this is the time to make a decision, you know? And then we get like some selective stuff and then we gets, who knows how much we skipped, but we get the end of a message from Melissa that says, jewelry sparkles in the light. Okay, I don't know what that is. Barf emoji from Jen Abel. Then, why don't you go ahead and continue.

0:16:10 Lydia: From Melissa Nathan, we can't change that headline. It's not a place that would, it's not place that it's clickbait and it's reporting on what happened, which did happen. We need to concentrate on the big media and socials, but monitor that article heavily. Jen Abel says, okay, copy. I think we really need to put the social combat plan then into motion.

0:16:14 Thomas: Continue it's not a place that would what uh

0:16:30 Lydia: Well, and Melissa Nathan agrees. So do I. We are heavily monitoring, trust me, and have our friendlies updating us as well nope

0:16:30 Thomas: What so they try to make that seem like they're gonna just keep monitoring but if the thing they're saying is we are already monitoring and then they're say I think we need to put the social combat plan into motion there's no way social combat equals monitoring that's insane so uh just in case everyone's wondering this is their own document where they're posting something that proves that they're lying and they did they proved

0:16:57 Lydia: Yeah those are distinct activities then

0:17:00 Thomas: They literally posted the proof that they did it social combat plan then into motion what in the world I've never heard of this I've ever seen anyone I'm sure people have I know there are a lot of people going through this

0:17:05 Lydia: Yeah yeah dissecting things yeah

0:17:13 Thomas: That are a year ahead of us but that's this is terrible this is really fucking bad for them

0:17:18 Lydia: Yeah yeah I would I would say have we seen the social combat plan or have you just like you know left that out

0:17:25 Thomas: Well again by implication here's another implication we can't change that headline it's not a place that would period it's clickbait I mean there isn't a beard but I think it's supposed to be there it's clicbait and it's reporting on what happened which should happen. So they're saying we can't change that. We need to concentrate on the big media and socials.

0:17:42 Thomas: So that's saying like there are other articles and media they're going to try to influence and change headlines, et cetera, et zebra, but just not this one. So, they are doing that. But when they try to say Able remains unconvinced that any changes are necessary, Nathan and Able continue to do the work outlined in the tag scope of services, which is at this stage involved monitoring coverage and social conversations.

0:18:04 Lydia: Their texts do not support that line

0:18:05 Thomas: When they say, okay, copy, copy I think we really need to put the social combat plan then into motion so do I we are heavily monitoring trust me and have our friendlies updating us as well so they're already monitoring and social combat is not monitoring that's insane nobody would ever say that so that means they're putting something into motion what liars well there's more I guess oh here we go there's more

0:18:28 Lydia: Well so this is the missing missing text in between the yeah I just saw it and I was was like come on you

0:18:30 Thomas: Oh it is oh what the fuck so they put them out of order okay

0:18:35 Lydia: Guys yeah so this is the one where it cut off I'm an over planner because you and then the next one was nothing to kill right now

0:18:43 Thomas: They did a double stack picture, but it split the page. That's what happened.

0:18:47 Lydia: So jesus christ oh is it supposed to be the second that you knew this was going to split pages you should have changed how you presented the material like this is really really dumb because people are going to read left to right that's what they default

0:18:59 Thomas: Let's see. People can hear in real time. If we were wrong about something, let's see,

0:19:03 Lydia: As all right so one of the missing pieces I'm in over planner because you know socials jennifer abel responds understand we should get on a call with jamie today we will likely have a break around 11 30 eastern time melissa nathan from my friend at tmz justin baldoni tips hitting our email about his beef with blake and colleen hoover jen able what are the tips melissa Nathan I asked that was my follow -up question jenable if we can kill before we do the today show and then like gritting teeth emoji and then shocked emoji

0:19:20 Thomas: Nothing to kill now. Don't worry. Oh, okay.

0:19:32 Lydia: Then nothing to kill right now don't worry phew so that's the fill -in for that piece so then this next one is intended Tended to follow the picture.

0:19:34 Thomas: So that's the thing, right? Then we did the famous last words and the, that. Okay. Yeah.

0:19:41 Lydia: Yeah. And Jen Abel responds to the reporter image that Melissa Nathan forwards and says, it's all fan speculation because he was in Sweden and then as a director did press separately. And then just say they never fucking followed. LOL. I hate everyone. So this is her trying to spin it.

0:19:44 Thomas: Say they never fucking followed. Huh?

0:19:58 Lydia: Yeah. So she's just going to lie?

0:20:00 Thomas: That's interesting. That'S just interesting to me. Is that true? If that's not true, that would be an insane lie to try to do.

0:20:04 Lydia: No, it's not true. But also it's Not True, the piece before it either, because when she's trying to excuse away that Justin Baldoni wasn't doing press with all them, she's like, it'S all fan in speculation because he was in Sweden. So what I'm saying is like, these are excuses.

0:20:19 Thomas: This is the spin in that she wants to do, but I'm saying it's pretty insane to do the never fucking followed like that. Unless it's a joke. I don't know. Okay.

0:20:29 Lydia: Or it's like exasperated, I guess.

0:20:31 Thomas: I hate everyone. Same. BL Vogue cover just dropped reading. Okay, got so bad quality.

0:20:35 Lydia: Reading. Jen Abel, I read it. It's fine. Barely anything about the movie. The entire thing is meaningless fluff.

0:20:41 Thomas: Oh, oh, weird.

0:20:42 Lydia: And then Melissa Nathan said, okay, so she didn't blank him then.

0:20:44 Thomas: Me too. Oh.

0:20:48 Lydia: Why would they redact that?

0:20:49 Thomas: What if it's it? What if, what if it says like Weinstein? Yeah, actually I was thinking that's, I don'T know. Cause Weinstein's obviously guilty. I dunno. So this is us speculating, but they redacted that she didn't blank him then or it's like a really bad word like rape him or something like maybe they said something really distasteful I don't know okay I just have no idea why would you redact that yeah I don' t know okay

0:20:52 Lydia: Weinstein him? Why would they reduct that though?

0:21:02 Lydia: And then Jen Able says, no, no. Thank God.

0:21:09 Lydia: Oh, maybe. Very strange. And then Melissa responds, she finishes the cookie and no, it would have to be longer than out.

0:21:18 Thomas: What if it said out him I'm trying to think what would be bad for them yeah she didn' t could be me too him

0:21:26 Lydia: She finishes the cookie and and it cuts off and then I think the next next up top it might be

0:21:29 Thomas: Wait do we get that up top or no oh

0:21:33 Lydia: And jewelry sparkles in the light maybe

0:21:33 Thomas: She finishes a cookie and julie sparkles in the light okay so that's a quote from the article saying like that's stupid okay

0:21:40 Lydia: Yeah and so then then we finish that one we are heavily monitoring trust me and have our friendlies updating us as well and this is the next one after that can you call jamie and get the free light green light she said free light green light and then melissa nathan said yes and then jen abel responds sorry we are back in press and that's where it ends like it must have been a delay for a response or something or oh no it might be that she can't call jamie right now to get the green light can you do it instead

0:21:49 Thomas: Fine yes sorry we are back in press yeah but oh so that that tells me like imminently so this makes it worse we really need to put the social combat plan then into motion

0:22:13 Lydia: Yeah that tells me right now they're looking to move on this now yeah this is august

0:22:20 Thomas: Can you call jamie and get the green light oh boy

0:22:24 Lydia: 7th yeah august 7th basically when people said that's when things started changing

0:22:30 Thomas: Unbelievable we already have all the information we need from their own fucking thing like they're just guilty as

0:22:37 Lydia: Yeah crazy

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0:22:45 Lydia: So after a number of pages that we get to skip because they are the excluded included text situation that

0:22:50 Thomas: Fuck we're excluding that from doing this in 100th fucking

0:22:53 Lydia: We that we We reviewed in detail in our New York Times episodes. We're going to skip on down to paragraph 163 in the narrative, which says, Meanwhile, Lively systematically excluded Baldoni from all marketing and promotional efforts with her and the cast for the film. He was not invited to any cast promotional events, cast screenings, premieres, photo shoots, or other cast campaigns. Baldoni was marginalized from the marketing process.

0:22:58 Thomas: Time sorry was it a is he why is he saying allegedly is he like I'm not willing

0:23:28 Lydia: I don't know. I'm not willing to admit to that. Yeah.

0:23:31 Thomas: To say whether or not it was yeah like is he is he alleging that lively is making it

0:23:38 Lydia: I guess he's alleging that maybe she created it and Sony rubber stamped it and saying that it's a Sony marketing plan. Yeah, it's odd.

0:23:42 Thomas: Up okay fair enough yeah I just think it's it's funny like Like, yeah, I feel like that's insane. But OK, I guess if that's his position, going to be like, I don't even know what this is. Never heard of this. He's saying he never agreed to it.

0:23:52 Lydia: Well, remember, he said here that she systematically excluded him from everything. So it's not just that, like, she excluded him. It was, yeah, it was very purposeful and comprehensive. Lots of binders.

0:23:59 Thomas: Yeah, she had a system to it is color coded. Yeah, alphabetical sorted her spreadsheet.

0:24:08 Lydia: Which was later referenced in Lively's CRD complaint as, quote, agreed to by all and attached an exhibit as fact, even though it was merely, quote. Talking points and not a binding contract. Are there binding contracts when it comes to marketing plans? What are you talking about?

0:24:20 Thomas: I how? Yeah, this is so silly. It was attached as fact. Sorry, what? How else could you attach? I'm attaching this, but half of it's made up. I'm not going to tell you which half, like I don't, how could you attach something? Not as fact. I literally don't. It's just more of this constant trying to undermine everything by using allegedly a human being who lives in a quote unquote house and quote unquote the film. It's like, yeah. Okay. It'S just making everything suspicious. Okay, fair enough. At least that's something he can say like I that part okay if he's going to claim he didn't agree now we get this it ends with us so this is what this document is I guess it says log line is this all this have we done this I

0:24:29 Lydia: That's crazy. Yeah. Yeah. Was never the plan Baldoni, quote agreed to. Yeah, I believe so. So, you know, we probably talked about some of this stuff, but I don't know if we went through this in detail because it was an exhibit in Lively's complaint. So I imagine we touched on it to some extent, but, I don'T know, we can spend a little bit of time on it. Even if we had touched on It back then, it's been a while.

0:25:13 Thomas: Can't remember why don't you read the what to avoid if you want or I guess now your voice is not as I could if you Want but let me know how you

0:25:38 Lydia: What to avoid? Focus more on Lily's strength and resilience as opposed to describing the film as a story about domestic violence. Empowerment is not just about standing up to adversity, but also about having the power to overcome within oneself and grow from it and developing agency to shape the future. Avoid talking about this film that makes it feel sad or heavy. It's a story of hope. Avoid talking About the film being representative of every woman's story. There are many stories of domestic violence, and this is just one perspective that is inspired by Colleen Hoover's own experiences growing up.

0:25:47 Thomas: Feel that's kind of fun I don't remember ever doing this so only if asked any questions about the story not being an authentic representation of domestic violence. This is just one perspective that inspired, that is inspired by Colleen Hoover's own deeply personal story of growing up in Texas. I don't know. Why would you throw Texas in there? Just like, this is a Texas variety. Yeah. The regional domestic violence variety. I suppose there's like a little bit of truth to that.

0:26:28 Lydia: Yeah. Just like a very regional thing. Yeah. Yeah. Which is also funny because it takes place in the East Coast for the movie.

0:26:42 Thomas: Yeah, this was just one Texan's view of the east coast it's very clear and then any questions about lack of diversity in the cast which is funny because I don't I wouldn't have thought of it as I mean I guess yeah I guess are there any main black characters there's the sun menage a person of color I suppose yeah okay that's a little bit of that yeah now they think about it we have such a wonderful cast who and so this is their like their suggestion of how to handle this kind

0:26:47 Lydia: So you have Hasan Minhaj. No. Yeah. I think that's the only person of color. Mm hmm.

0:27:08 Thomas: Of question we have a wonderful cast who all bring something unique and telling this powerful story of one One woman learning to take agency over. Sorry. One Texan woman learning how to pretend to be. Yeah.

0:27:18 Lydia: Grab her future by the reins. It's a horse joke.

0:27:23 Thomas: Oh, once again, we get. Wait, why a horse joke? Oh, okay. I see. Yeah.

0:27:27 Lydia: Cowboys, Texas. I was trying to lean into. Yeah, I and I think this is probably a standard thing that they have on all marketing plans in this day and age that they anticipate someone might ask about diversity because, you know, Oscar's so white, like that whole situation. So they're probably just prepared for that.

0:27:33 Thomas: Yeah. Yeah. This is probably. Yeah. Yeah, for sure. That would be a good way. Hey, our film isn't any less diverse than your average Hollywood film. Film. And I like too that it like the diversity thing. It also has, I'm so proud to be part of an incredible group of women who have to make, who have To make this film. Huh? This is some bad, right? Yeah. Who have to Make this film that is inspired by Colin Hoover's own deeply personal story of growing up in Texas.

0:27:58 Lydia: Yahoo half to make? I think that's a typo. Yee -haw.

0:28:09 Thomas: Hey, yeah, Texas so white. So therefore film so white, I think this is kind of this isn't this neither here nor there, but it's just kind of like, while we're here, it's interesting to learn more about the behind the scenes of this and I don't think we've ever gone through this particular document in this level of detail. I do not remember this but I like the overall guidance. Keep in mind that the journalists only use a small portion for their final pieces so we need to provide sound bites and at most two to three sentence answers. Anything longer will be cut or misconstrued especially given the sensitive topic and how quickly out of context answers spread on social.

0:28:42 Thomas: You can still get your messaging across just with carefully chosen words. While it ends with us, another bullet point, while it ends with us is an emotional, complicated story, it is also about hope and breaking free in Texas. No, I'm just kidding. From the past and empowering yourself and your future, we want to focus on the positive elements in interviews, discussing abuse, how abusers Oh, it's kind of important to read this, actually. Discussing abuse, how abusors or the abused are perceived outwardly takes us down a path that is not only dark, but will detract from the primary messaging. Wow, that's pretty spot on. Digging too deeply into personal stories will not only take time but they will not be picked up by the media and will go unused it also opens the door for journalists to direct the conversation away from the movie yeah I mean this is I don't digging into personal stories Will Not Be Used well what what do they think the media is going to use because that's kind of interesting like I feel like again this doesn't really have any implication on the lawsuit I don'T think but just as as a inshitification of everything and like how our media environment sucks and this is the worst in general and all all this stuff. The idea of like, Hey, stick to content lists, boring soundbites. Don't say anything interesting. I think it's kind of weird to say personal stories.

0:29:51 Thomas: They will go on you. Like, I feel like they might not want you to do that, but I feel it wouldn't be unused. I feel like if you said something unique about yourself, they probably would use that. Don'T you think

0:29:59 Lydia: I I think maybe it's maybe what they mean there is not used in its full capacity to the first bullet point under this overall guidance section anything longer will be cut or misconstrued especially given the sensitive topic out of context answers spread on social etc etc I think it might be more of like that perspective or or they're just really really trying to downplay it and be like, don't even bother. You focus on the movie.

0:30:18 Thomas: What sucks is that so much of our boring PR media environment is just trying not to make a mistake. I think they're not. It's weird because the plan is not even like, here's how we're going to make a splash. It'S like, all right, if we keep real still, no one will notice. You know, it's just they want a few boring sentences about, wow, this is our story, one woman's story of abuse and blah, blah, Texas, then nothing else. It's like they just want one tiny amount of messaging. And if everybody sticks to that, then nobody the media can't do anything else. And so that it's sort of like a filibuster. Like if everybody says I'm Spartacus or something, you know, it's kind of funny. Anyway, neither here nor there. But this is the funniest sentence. Well, I can't I can'T use superlatives like that because there's so many bad ones. But listen, listen to this.

0:31:17 Thomas: In fact, against much resistance from the film's distributor, Baldoni from day one made it clear that he was making this film to bring awareness to domestic violence and would not refrain from doing so when promoting the film. He did not go rogue, as Lively alleges. So against much much resistance, but he didn't go rogue.

0:31:35 Lydia: Yeah, I guess, is that really what he's saying? This was not the plan he agreed to because he wanted to talk about domestic violence. He wanted to focus on abuse. Use is that like what his position is yeah

0:31:47 Thomas: Sure. But does he show anything? I just think for one, it's funny to say against much resistance that he did not go rogue, it's like, well, isn't that the definition of going rogue? But also, if you're going to make this claim, and I actually think this is kind of important legally, because a key tactic that he used that we've gone over many times was it did seem like he and I think this interesting legally, we'll see. I'm really curious how this shakes out if we get to get any sort of, you know, answers if there's a trial or whatever, how this is argued. But like, when we're looking at what qualifies as retaliation, if they have a marketing plan that they've all kind of agreed to, but I mean, like, as silly as it was that he said that, it's true that it's not a binding contract. Track. If there's a plan that largely they're supposed to stick to and Justin Baldoni sees an opening to differentiate himself from the rest of the cast. And we know from texts like this is a plan. The plan is we need to explain why the whole cast is ostracizing Baldoni. And, you know, we've been over this and his plan is, and it is pretty shrewd. Like this was kind of a smarter Among all the dumb things they did, this was kind of a smarter thing, I think, to say, all right, looks like here's an angle we have where we can say, well, the reason he separated is that they don't want to talk about the domestic violence, the key, you know, the important emotional core of this thing, and I'm going to do it my own way, etc., etc. cetera. Okay. That's interesting. Like if that ends up, if differentiating in that way results in coverage, that's wow. Look at how out of touch Blake Lively is and how in touch Baldoni is. I think that's kind of a hard question. And this is just as a person, not a lawyer, that feels kind of tough to say, like, like it, it feels on the line in terms of like, would this legally qualify as retaliation? The fact that like, he's the only one doing it

0:33:43 Thomas: And other, other actors aren't doing it. And it is kind of their plan, even though they didn't like agree to it as part of their contract or something necessarily, maybe they didn'T like sign that they definitely were only going to market in this particular way. I feel like it's one of those like blurry lines where you'd point to like, look, he's only doing this because of the harassment and how he needs to cover his ass. And so I'm just curious. I'm really curious to see if that legally kind of qualifies as retaliation. I suppose that's a question for a jury, unless there's any legal reason why it could be ruled out as a matter of law and not even allowed to go to the jury. I don't think so. But

0:34:23 Lydia: A good

0:34:23 Thomas: Point is, if he's going to make that effort, I think he's worried about that. And he clearly is. So I think that's assigned that at least he and his legal team view this as something they need to address. He's trying to say, I didn't go rogue. I always intended to do this. But if that were true, you would want to have evidence that dates from, you know, a while ago. You'd want to Have evidence that predates the marketing. And all he shows us here is Sunday, August 11. Correct me if I'm wrong. Yeah, like, that doesn't strike me as particularly early in the process, right? Yeah.

0:34:33 Lydia: Point yeah single text message yeah it's interesting because he did engage with no more right that foundation early on why wouldn't he have why wouldn't He have reiterated that here to demonstrate that but I mean like it's making us have to do a lot of work to connect those those

0:35:12 Thomas: Yeah. Okay, so what's this tech, the one thing he offers is Sunday August 11? Good morning, team is just him, as you say. So I was thinking about the response to this weekend. Okay. Isn't that already definitionally you didn't decide to do this from forever ago? Yeah. Because he's saying Baldoni from day... What comes before this, what we just read you, from day one made it clear that he was making this film to bring awareness to domestic violence. His evidence. So I was thinking about the response to This Weekend. And I feel like like, what we should do is make sure, yeah, to emphasize the voices of the survivors. It's gonna be a lot of buzz how much the money the movie made, but I want to be the one that always direct, I want, I want it to be, I don't know, I'm not sure. I don' know. I'm just, I, I just, I want the one to be direct, comma, the back to the survivor, whatever, directs it back to the survivors, so I would love to come up, come up with some sort of video or carousel of messages from survivors in the response to the film. That couldn't be less from day one. That's like, hey, hey, I had an idea today with today's newspaper, August 11th, as I, you know, like, come on. That's, yeah. Note to the lawyers.

0:35:19 Lydia: Dots this is post premiere yeah Yeah. Right. Right, right. This is not evidence for that claim. Well, the movie's out.

0:36:15 Lydia: Yeah. We could have like, and this is, I guess, a note to the lawyers, whoever drafted this, you could have fixed this just by adding a sentence because you could've said from day one, made it clear, blah, blah. Not offered evidence for it. And then said, and continued that goal, that drive, even post -premier to continue to highlight a survivor's voices. And then here you go. There's the evidence for that, that you've done it post -premiere. That would have saved it.

0:36:44 Thomas: Yeah. I agree to an extent, but I think this text is so bad that you wouldn't even want to put it in. Like it's, again, it's amazing how much the sexism and the anti -Blake of it all makes people not even recognize that his own evidence undermines what he's saying. This really is like a response to this weekend. Literally he's thinking of it then.

0:37:07 Thomas: I feel like what we should do is emphasize. Can you come up with, none of this is thought ahead of time. None of this, this text is just, okay, that's bad evidence. Don't include it in your document. Like this is worse.

0:37:18 Lydia: I want to be the one that always directs it back to the survivors. Like, yeah, it's going to be a lot of buzz how much money the movie made, but I want it to be. Be the one. The one.

0:37:22 Thomas: Oh yeah. What we should do is make sure to emphasize. Did he say I, or are you just, oh yeah, you're right. I want to be the one that always, that is, wow. Again, directly contradict, well, sure. But it's also like, Like it's from this theory of retaliation where it's like, I'm going to differentiate because I need to, because it's starting to look suspicious that everyone hates me. So here's my, here's My Way to do it. And it's, it's amazing to try to include that as evidence. And this isn't even, it is one thing when the exhibits have been terrible and that's still silly. This isn't Even the exhibits, this is the main complaint. And that just completely undermines his point. Terrible.

0:37:35 Lydia: Narcissism. Yeah. Yeah, yeah. Oh, yeah, it's right next to the words that they wrote.

0:38:06 Thomas: Ooh, breadcrumbs. Let's hear about breadcrumbs.

0:38:07 Lydia: Throughout this period, Reynolds and Lively continued to leave, quote, breadcrumbs in their campaign for mocking and bullying Baldoni.

0:38:15 Thomas: Who's the who's he quoting why is it quote breadcrumbs is that for like because it wouldn't yeah it wouldn'T be from their complaint where they're like we left breadcrubs and then he's quoting

0:38:18 Lydia: I don't know. Alleged breadcrubs. Yeah, exactly. On July 26, 2024, the film Deadpool and Wolverine premiered, starring Reynolds. The film contained a new character named Nicepool. Oh, have we talked about Nicepool? I don't know if we have. There's no reason they would have talked about it in the New York Times complaint.

0:38:32 Thomas: That yeah wait we've gone through this right shit have we oh crap I don't remember now and tell you what there's no reason for us not to do it again even if we haven't because this this is so fucking funny.

0:38:47 Lydia: Also portrayed by Reynolds. Reynolds portrayed Nicepool as a vicious caricature of a, quote, woke feminist before concluding the character's arc with his violent shooting death at the hands of, quote. Ladypool, a character voiced by Blake Lively. Upon information and belief, the nice pool scenes were added to the movie and filmed in January 2024 after the January 4th confrontation in Reynolds and Lively's apartment and were intended to be a transparent and mocking portrayal of Reynolds' warped perception of Baldoni.

0:39:18 Thomas: Okay, but I saw this film, would never have known that. I thought it was just a general joke, and then I'll be honest, I don't think I even, even doing this entire podcast, if Baldoni hadn't brought it up, I never would have made that connection. Like, maybe, maybe if we watched it again later, and I was like, oh, wait a minute, yeah, hold on, but like, this is such a Streisand effect. Yeah, it's like, what are you doing, man? And it's so so funny because it's a Streisand effect and there's nothing legally actionable here. I'm going to go ahead and say, I'm not a lawyer, but I've played one on TV. There's nothing the fuck legally actionable about, Hey, they made fun of me in their film. This is a fucking America, dude. Like you can't like,

0:39:37 Lydia: Yeah. Barba. Yeah, exactly. Barba Streisand. No. I wear a man bun and he wore a man bun and it hurt my feelings.

0:40:02 Thomas: If the rules were reversed and lively was the one sexually harassing and was the boss. And then Baldoni filed a complaint. Then lively did this in a way that was like making fun of the fact that he complained. Then, then maybe it could be retaliation Because, again, that's the key difference that people don't recognize where they're like they try to do this thing where they both sides it. We're like, well, like Lively was talking trash on Baldoni. It's like, yeah, but it's different because of the retaliation thing. No one is saying that it's illegal to bash someone.

0:40:31 Thomas: It's not illegal to bash someone as long as you're not defaming them or something. But it's not legal to like do a satire like this. It's not even close. It's this is the First Amendment. And the only way it could maybe conceivably be unlawful is if if they complained about workplace harassment against you. And then, you know, you might be violating those kind of laws, but this is silly. Like he could have just let this slide. There's no, I don't think there's any benefit from bringing this up.

0:40:56 Lydia: No it's it's weird and honestly reads is pretty pathetic

0:40:59 Thomas: Wait, nice pool also made reference to an intimacy coordinator. Wait, when was that?

0:41:03 Lydia: Let's see nice pool commented inappropriately on a female character's attractive body after childbirth and excused his remark by claiming he identified as a feminist nice pool also made reference to an intimacy coordinator and even used a hairstyle that mirrored baldoni's previously longer

0:41:18 Thomas: Wait, can we just play this? Is this on something? I want to play it now. Well, I guess we'll be able to hear if this is when he meets him here. Yeah.

0:41:20 Lydia: Hair uh yeah

0:41:28 Thomas: Cause it's the dog. Cause he first, he, he meets the dog that's like ugly and he loves that dog. But then a nice pool is the one who owns the dog, right?

0:41:28 Lydia: Disney yeah dog Dogpool. Mm -hmm. Yeah.

0:41:36 Clip: That's my girl! We have to be apart ever, ever again! Never, ever!

0:41:36 Thomas: All right, let's see.

0:41:41 Clip: Fuck! What's Cafe Gratitude doing here? Tremble not, sweet Mary Poppins. I'll handle him. Hey, do not insult this animal's autonomy. She can decide who her papa is. Original recipe or Van Milder here? I can gently tap the fourth wall, too.

0:42:07 Thomas: Wait so did he already know who he was there so when did he meet him

0:42:14 Lydia: Yeah, he already knew. So it's about halfway in the movie before. And yeah, because they like meet him and then they go to the void or whatever.

0:42:20 Thomas: Yeah you're right oh that's when he meets him oh that'S when he first meets the dog oh

0:42:36 Clip: But in here, everybody calls me Nicepool. Oh, my goodness, wait till you see Ladypool. She just had a baby, too, and... Are those gold-plated, 50-caliber Over my dead body? And I guess you've already met Mary Puppins, a.k.a. Dogpool. She's 90% G-spot, and she'll let you know it. You let this little flirt out of your sight for one second, and she starts shopping for a new papa. If you can't be a responsible pet owner, then maybe you don't deserve this little unicorn.

0:43:07 Thomas: Okay dog

0:43:21 Clip: Guilty on all charges, Your Honor. It costs nothing to be kind. Shutting the fuck up is also free. Caliente this is logan he's usually shirtless but he's let himself go since the divorce

0:43:20 Thomas: Pool just licking his face oh

0:43:36 Lydia: That's basically it. Like I'm looking at the movie. Yeah.

0:43:38 Thomas: Intimacy coordinator was the only other thing

0:43:40 Lydia: So intimacy coordinator, I show that Deadpool says that.

0:43:43 Clip: She never said that no but I bet she thought it you are so mean my brain could taste your fingers and they tasted like hate And we're in God's name as the intimacy coordinator! I'm so lost, Mr. White.

0:43:59 Thomas: Okay so they say nice pool also made reference to an intimacy coordinator no you're not even gonna get the facts right in your stupid thing you shouldn't be talking about anyway so as far as nice pool goes like I definitely believe that

0:44:04 Lydia: That's it. He did not. No. It's an inside joke that, yeah. Mm -hm.

0:44:13 Thomas: There's yeah there's inside joke but there's look tell me the timing there's no fucking way that entire character was created because of

0:44:20 Lydia: Well, yeah, I mean, I think that's why they had to do the on information and belief. So then they tried to subpoena Disney and make them turn over work product really to Marvel.

0:44:27 Thomas: This yeah which which is stupid which is like if if there was something actionable here then sure but there'S not so it's like because like I'd have a that's a pretty that's not an incidental it's funny my memory was like oh yeah it's a quick scene but like no he's actually in it for quite a a while nice pool is

0:44:44 Lydia: Yeah. Yeah, exactly. It's not like he's one of the Deadpools from the multiverse. Like he actually has.

0:44:48 Thomas: Well he is but yeah yeah

0:44:49 Lydia: No, no, no. But that he's not just that. Right. When the portal opens or whatever and they're all coming out at the end.

0:44:52 Thomas: He has the dog which is key and he also he's in several different scenes in several different settings so he's the one where they met and then he comes back later I'd have a hard time believing that that character was just spontaneously added I don't know like I also don't even know

0:44:55 Lydia: Right? The dog is key. Yeah. Also, who cares if it was? Yeah.

0:45:10 Thomas: Yeah no obviously it's it's not actionable if it is but I'm actually I'm to the point where I'm not even actually sure because it works on its own completely. Like there's no, there's no part of me, like I watched this movie before I knew anything about this and there's not part of this movie of me that was like, well, that's weird. That must be a reference to something. It's like, no. Yeah. It just fits as like, oh, that's going to be like a fake male feminist. That's all it is. Yeah, and

0:45:23 Lydia: And I knew Justin Baldoni when I watched this movie and I didn't think about this at all. It feels like, yeah, exactly. It feels Like an archetype, right? Like it's another archetype that they decided to use to poke fun at that kind of person who is a lot of people.

0:45:49 Thomas: His hair's longer, but it's not in a man bun, which is like kind of also funny because it would have worked more to be in in a man bun not in the picture hold on let me just oh oh yeah sorry I'll take that back I thought it was a ponytail based on the picture but it's it's

0:45:56 Lydia: Is it not in a man bun? Is it just a ponytail? Yeah, no, it's a half up, half down. Yeah.

0:46:04 Thomas: You know what I'm gonna leave that in actually because it just shows their own stupid fucking incompetence they crop the man bun out of their own picture where they're trying to do comparison to his long hair and the baldoni side by side baldoni has a man bun I'm looking at like the scene for scene where that image is taken from and you can see his man bun in the movie so like they're so fucking stupid that they didn't decide to make the picture show his man gun which would have been a way better case that is so it's so weird how bad they are at this like it's it's like to the point where you're like how could they just coincidentally be

0:46:33 Lydia: Instead of just like this half up half down style, which could be a ponytail, a braid. We don't know. Yeah. Yeah.

0:46:45 Thomas: This it's terrible they're idiots anyway

0:46:49 Lydia: Then there's this next paragraph after. This is further borne out by the fact that in the credits for It Ends With Us, Lively expressly thanked Gordon Reynolds, the false name that Reynolds used for his credit for portraying Nicepool. Now, my understanding is Gordon Reynolds it's like his Canadian alter ego and he gets thanked in everything.

0:47:08 Thomas: And specifically in that scene he said sorry sorry which was I was gonna actually comment on that because it's not not like that's a very distinctive thing it's obviously canadian that's not baldoni is it it's like specifically not yeah exactly and it's interesting because the male bad male feminist often that archetype could have a very la vibe and it would have fit you know what I mean like that would have so what's this gordon sorry I interrupted but I was going to say that when it when it came so what'S THIS GORDON REYNOLDS

0:47:18 Lydia: No, no. Baldoni is L .A. Yeah. Oh yeah, totally.

0:47:37 Lydia: So Gordon Reynolds is a twin brother that ryan reynolds created he's fictional and there was a gq interview he did back in 2017 where gordon reynold's appeared so this has like been a running gag for a long long time and he is credited as nice pool so basically gordon Reynolds has nothing to do with the name gordon Reynold's has nothing with baldoni even if that's who portrayed him in nice pool it literally really has nothing to do with him.

0:48:07 Thomas: THING okay so then they say this is born out in the credits by in the credits for it ends with us lively thank gordon reynolds the fake name that Reynolds used for his credit for portraying nice bull. There's barely any, like we already know this is not actionable. It's silly to even bring up. I'm just curious for myself whether this even makes sense. But the thing is, it also could be that this character existed as a bad male feminist and then Lively's just after that linking it to Baldoni, you know, it could be her being like, oh, thanks for that. You know, like that doesn't like, I'm honestly not even sure. Cause like it it works on its own. As we said, it's very Canadian. He says, sorry, sorry. When he comes in and lively thanking Gordon Reynolds after the fact could be this character's reminiscent of Baldoni, not the other way around. Not like this character was written to be Baldoni. But like this character after the act reminds and exposes kind of the bad character that Baldoni is.

0:48:35 Lydia: Yeah, it could be.

0:49:02 Thomas: Yeah. That type of person. So this is nothing it's silly. And I don't even think like, honestly, Honestly, it got into my head. I don't even know that the evidence would even like if I had to bet, I don'T know that I would necessarily even bet that this was created to be Justin Baldoni. Like, I DON'T think so.

0:49:18 Lydia: Yeah. And I just also think like the thanks that she lists there, just knowing the type of people that Blake Lively and Ryan Reynolds have at least portrayed themselves to be in social media and stuff where they're kind of like poking at each other and like pranking each other. And doing little jokes back and forth and stuff publicly on social media. This just feels like it's, I don't know, little up their alley like I'm not I don't know it just could be an inside joke that they have going on to thank gordon reynolds like it's a way to kind of like poke at ryan reynold's and in the movie potentially I I have no idea I haveno

0:49:50 Thomas: I think the odds are if I HAD TO BET, I WOULD BET THAT THE THANKING GORDON REYNOLDS IS A REFERENCE LINKING BALDONI TO THAT CHARACTER. BUT I DONT THAT DOESN'T MEAN THE CHARACтер WAS CREATED BECAUSE OF THAT. IT COULD HAVE COME AFTER THAT. ALL THIS DOESNT MATTER. Is just interesting. And it's kind of funny to put on Deadpool versus Wolverine for a second.

0:50:03 Lydia: Idea right

0:50:18 Ad: [Ad break 3 — ad music]

0:50:18 Thomas: All right. Well, we're leaving it there. Next episode, we do some real like forensic work because we're going to get to these messages that are just like indescribable. No, that's not it. Inscrutable. Is that the right word? Right? No. You're acting like I'm crazy. Isn't inscrutable.

0:50:25 Lydia: Yeah inscrutable perhaps no I'm looking up the

0:50:36 Thomas: You don't know. It can't be screwed. Yeah.

0:50:36 Lydia: Definition impossible to understand yes yeah it can't be screwed yeah I I could have given you that definition, but what is scrute? What is to scrute,

0:50:41 Thomas: You can't screwed it. It's unscrutable to screwed it Yeah, exactly. You just got to know. Impossible to understand or interpret is that definition

0:50:50 Lydia: Yeah, I looked it up too, yes, mm -hmm.

0:50:53 Thomas: That you Googled. Yeah. But I already knew that. That's why I use the word inscrutable. And we're going to attempt to scrut these things. They may seem inscrutable, but we're going to put on our best scrutin glasses. Rootin' tootin' scrutin' time is what it's going to be. And these are insane. And they're also... Anyway. Well, I should stop. What am I talking about it for it's gonna be next episode let's just yeah just keep moving on patrons are like stop talking so I can push play on the next episode normies are like oh man I'm not a part of the chunk system I gotta wait and that sucks so go to patreon.com slash gavel pod and then we're all happy so we'll see you then rootin tootin scrutin time well

0:51:03 Lydia: Yeah. Yeah, we're into scruting glass. Oh, man. Just listen. Patrons are going to get it right away. Yeah, yeah . . . I've

0:51:58 Thomas: He woke up early case

0:52:02 Lydia: Also had an early morning. The timing has resonated with me.

0:52:03 Thomas: Dismissed missed a fellow early riser texas so white so therefore film so white oh I'm sorry I just can't read so I'm gonna have to cut that