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Legally Brunette: Blake Lively vs. Justin Baldoni Part 2 · Legally Brunette

• 0:01
  Speaker 1: Hi guys, Welcome to Legally Brunettes. I'm your host, Emily
• 0:05
  Speaker 1: Simpson with my co host, the most Interesting man in the.
• 0:08
  Speaker 2: World, Shane Simpson.
• 0:10
  Speaker 1: Okay, first of all, I think we just need to
• 0:13
  Speaker 1: do a little I think it's always important to go
• 0:14
  Speaker 1: back and do just a little summary of things that
• 0:16
  Speaker 1: we've already talked about. So let's just do a little update.
• 0:18
  Speaker 1: In the Menindez case, they were scheduled to have hearings,
• 0:24
  Speaker 1: but because of the fires, their resentencing hearing has been
• 0:27
  Speaker 1: rescheduled to March twentieth and the twenty first. I do
• 0:31
  Speaker 1: know that the DA, Nathan Hockman, has now met with
• 0:34
  Speaker 1: not only the side of the family. There's the one
• 0:38
  Speaker 1: member of the family who did not want them to
• 0:40
  Speaker 1: be resentence that's Milton, who is Kitty's brother, But he
• 0:44
  Speaker 1: has also met with the pro resentencing family, which is
• 0:48
  Speaker 1: like twenty four members of the family. So he has
• 0:50
  Speaker 1: now met with all the family and they'll be a
• 0:53
  Speaker 1: hearing March twentieth and the twenty first, which obviously we
• 0:55
  Speaker 1: will update at that time period. But also I just
• 0:58
  Speaker 1: want to say, because a lot of you as me,
• 1:00
  Speaker 1: what do I think the DA will do?
• 1:02
  Speaker 2: Wait? Can I ask questions before you say what you
• 1:04
  Speaker 2: think the DA will do? Yeah, do you think the
• 1:06
  Speaker 2: I'm sure the fires are a valid reason and are
• 1:09
  Speaker 2: causing the courts to have to delay lots of things.
• 1:11
  Speaker 2: But do you think they jumped on that to delay
• 1:14
  Speaker 2: it like they had they had good read, like they
• 1:16
  Speaker 2: wanted to personally delay it and this gave him the excuse,
• 1:19
  Speaker 2: or you think it would have gone through had there
• 1:21
  Speaker 2: not been the fires.
• 1:22
  Speaker 1: No, I think it was legitimately the fires. I heard
• 1:25
  Speaker 1: from that A lot of the das in that office
• 1:28
  Speaker 1: lost their homes, and I think it's chaotic, So you
• 1:30
  Speaker 1: think it's I think it was a legitimate.
• 1:32
  Speaker 2: Okay, there was an ulterior type motive in doing so, No, okay,
• 1:36
  Speaker 2: But just.
• 1:37
  Speaker 1: A reminder, it is not Pakman that makes the resentencing decision.
• 1:41
  Speaker 1: It is the judge. All the all Nathan Hoffman will
• 1:45
  Speaker 1: do is person through the case, present it. He'll have
• 1:48
  Speaker 1: a recommendation, but then ultimately the judge makes the decision.
• 1:51
  Speaker 1: So let's move on. This is our second podcast on
• 1:55
  Speaker 1: Blake Lively and Justin Baldoni, which is it is just
• 1:59
  Speaker 1: it is it is brewing. We did part one, so
• 2:04
  Speaker 1: if you haven't listened to that, yet I would suggest
• 2:06
  Speaker 1: you go back and listen to that and then come back.
• 2:08
  Speaker 1: We are now talking about Justin Baldoni filed a lawsuit
• 2:12
  Speaker 1: against Blake Lively, Ryan Reynolds and their publicist.
• 2:16
  Speaker 2: Wait before you get into that, so where did it
• 2:18
  Speaker 2: leave off? It left off with what filing or where
• 2:20
  Speaker 2: was the status of the parties? Okay, now going into detail.
• 2:23
  Speaker 1: Just so lit'sten. Just do a little background. First, Blake
• 2:27
  Speaker 1: Lively in December files the CRD complaint, which is with
• 2:31
  Speaker 1: the California Civil Rights Department. That was the administrative complaint,
• 2:36
  Speaker 1: which by the way, is not a public complaint. But
• 2:39
  Speaker 1: then but she filed that along with New York Times
• 2:42
  Speaker 1: writing the story. That was basically taking her complaints and
• 2:46
  Speaker 1: making that the story. And then there was also the
• 2:49
  Speaker 1: whole allegation of they altered some of the text messages,
• 2:52
  Speaker 1: they left context out, et cetera. So Justin Baldoni, in
• 2:56
  Speaker 1: response to that, files his libel suit again the New
• 3:00
  Speaker 1: York Times.
• 3:01
  Speaker 2: Right, because they didn't He's claiming they didn't paint the
• 3:03
  Speaker 2: whole they didn't provide the whole story. Right, They picked
• 3:06
  Speaker 2: and choose chose what they wanted to show, which is
• 3:09
  Speaker 2: probably what what is the mediast and probably what sided
• 3:12
  Speaker 2: with Blake Lively because she was their source, right, or
• 3:16
  Speaker 2: maybe they were negligent in looking into it any further
• 3:19
  Speaker 2: and just ran with what was given to them, right.
• 3:21
  Speaker 2: And now he's saying, that's not me, that's painting me
• 3:25
  Speaker 2: in a bad light, exactly.
• 3:26
  Speaker 1: So again, let me I'll just give you just a
• 3:28
  Speaker 1: little legal background on libel. When you're talking about a
• 3:31
  Speaker 1: new source and you're talking about a public figure, the
• 3:34
  Speaker 1: standard to prove defamation, which is libel, is actual malice.
• 3:40
  Speaker 1: And that's a very very very high standard.
• 3:42
  Speaker 2: Very different means intentional. It means that bad.
• 3:46
  Speaker 1: Practice that they knowingly published something that they knew to
• 3:50
  Speaker 1: be false. So you know, he has an uphill battle
• 3:53
  Speaker 1: on that. But I think it was very important that
• 3:55
  Speaker 1: he filed that because he really got his side of
• 3:58
  Speaker 1: the story out there quickly, and I think that was
• 4:00
  Speaker 1: a smart move on his behalf. She then files a
• 4:05
  Speaker 1: federal lawsuit in New York, which is basically a mirror
• 4:09
  Speaker 1: image of the complaint she filed with the Civil Rights Department.
• 4:13
  Speaker 2: And just to be clear, the Civil Rights Spartman is
• 4:14
  Speaker 2: the equivalent of like the Better Business Bureau or something.
• 4:17
  Speaker 2: It's just like an agency or some type of body
• 4:21
  Speaker 2: that receives your complaints and just documents it.
• 4:24
  Speaker 1: And I think she filed with that because I don't
• 4:26
  Speaker 1: think that she had the intent of ever filing an
• 4:30
  Speaker 1: actual lawsuit against him.
• 4:32
  Speaker 2: Okay, that was her intent to collude.
• 4:34
  Speaker 1: With the New York Times and to get this story
• 4:37
  Speaker 1: out there that he sexually harassed her and that he
• 4:39
  Speaker 1: planned this smear campaign against her to ruin his reputation.
• 4:43
  Speaker 2: So do you think her intent was to ruin his reputation? Yes?
• 4:46
  Speaker 2: And why?
• 4:47
  Speaker 1: Opinion?
• 4:47
  Speaker 2: And why?
• 4:49
  Speaker 1: Because I think when she was promoting the movie it
• 4:51
  Speaker 1: ends with us, she got such bad press by her
• 4:55
  Speaker 1: own decisions as to how to promote the movie. She
• 4:59
  Speaker 1: received a lot of backlash from the public, and I
• 5:02
  Speaker 1: think she found a way to turn it around on
• 5:05
  Speaker 1: him and make him the bad guy in this scenario,
• 5:08
  Speaker 1: and that was her intent. So then she files his
• 5:11
  Speaker 1: federal lawsuit. I think she filed it because she got
• 5:13
  Speaker 1: pressure from the public that they were like, hey, if
• 5:15
  Speaker 1: you're accusing this guy of sexually harassing you, why are
• 5:18
  Speaker 1: you just filing it, Why are you just filing an
• 5:21
  Speaker 1: administrative complaint? Why are you not actually standing up for yourself?
• 5:26
  Speaker 1: If you are a woman that has been sexually harassed.
• 5:28
  Speaker 1: So she files it in federal court. He files. Now,
• 5:34
  Speaker 1: this is where we're up to now, and this is
• 5:35
  Speaker 1: what we're going to try to focus on in this
• 5:38
  Speaker 1: this session. He files a lawsuit against her, Ryan Reynolds
• 5:42
  Speaker 1: and their publicist, and it's on behalf of himself, Wayfairer,
• 5:46
  Speaker 1: which is his studio, the producer, you know, his partner,
• 5:50
  Speaker 1: and his finance guy who's also a partner and part
• 5:54
  Speaker 1: of wayfair his name Sarrowitz.
• 5:57
  Speaker 2: He's suing just the New York Times.
• 5:59
  Speaker 1: No, we're talking to past the New York Times.
• 6:01
  Speaker 2: Okay, we're moving on.
• 6:04
  Speaker 1: The newest lawsuit that we're going to focus on today
• 6:07
  Speaker 1: right now is justin Baldoni versus versus Blake Lively, Ryan
• 6:12
  Speaker 1: Reynolds and their publicist. Let's just keep it like that.
• 6:15
  Speaker 1: We'll just be okay now.
• 6:17
  Speaker 2: So that's some deep pockets New York Times in one suit,
• 6:21
  Speaker 2: and then Ryan Reynolds and another because we all know
• 6:24
  Speaker 2: Ryan Reynolds, like was affiliate with some cellular company that succeeded.
• 6:29
  Speaker 2: It did well and was acquired and he cashed a
• 6:32
  Speaker 2: lot of money. Nothing wrong with that, but he certainly
• 6:34
  Speaker 2: got hundreds of I understand hundreds of millions of dollars, right,
• 6:37
  Speaker 2: But I will.
• 6:37
  Speaker 1: Tell you Justin Baldoni. One of his partners in Wayfairer
• 6:43
  Speaker 1: is Steve Sarrowitz, who is a multi billionaire, and he
• 6:47
  Speaker 1: has been drug into this lawsuit.
• 6:49
  Speaker 2: How do he get dragged in?
• 6:50
  Speaker 1: Because he's part of the founding fathers of Wayfairer studios,
• 6:54
  Speaker 1: he's like a silent finance guy behind the studio.
• 6:58
  Speaker 2: Well not so silent anymore. Isn't have to speak up?
• 7:01
  Speaker 1: Well, I think he's writing checks. Like I think he
• 7:03
  Speaker 1: came Brian Friedman a playing check and said, take these.
• 7:08
  Speaker 2: People cleaners, take them out.
• 7:10
  Speaker 1: Yeah, And so that's where we're at.
• 7:14
  Speaker 2: Wow.
• 7:14
  Speaker 1: So the complaint that Justin Baldoni filed is one hundred
• 7:17
  Speaker 1: and seventy nine pages. I read it twice. I think
• 7:22
  Speaker 1: it's important, and let's just go through I'm gonna do.
• 7:24
  Speaker 1: Let's just do a little summary of basically what he's alleging.
• 7:27
  Speaker 2: In his I can't go over one hundred and eighty pages.
• 7:29
  Speaker 2: That'd be dull. We can't.
• 7:31
  Speaker 1: Let's do Let's just do a little summary of it.
• 7:33
  Speaker 1: And then I have some things that I pulled out
• 7:35
  Speaker 1: that I think are important. So Baldoni, Wayfair Studios, his
• 7:38
  Speaker 1: publicists christ and his crisis management expert Melissa Nathan, and
• 7:42
  Speaker 1: other plaintiffs filed a lawsuit on Thursday, I don't remember
• 7:47
  Speaker 1: the date. This is like two weeks ago in New
• 7:48
  Speaker 1: York federal court against Lively, her husband, her publicist, and
• 7:52
  Speaker 1: the firm Vision pr. The suit basically claims that Lively,
• 7:57
  Speaker 1: who was publicly blasted for her tone deaf motion of
• 8:00
  Speaker 1: a film It Ends with Us, centered around domestic violence,
• 8:04
  Speaker 1: but she could not tolerate her publicly tainted image for
• 8:08
  Speaker 1: a moment and decided to use Baldoni as a scapegoat
• 8:11
  Speaker 1: by accusing him of harassment and creating a hostile work environment.
• 8:15
  Speaker 1: His latest lawsuit repeats many of the claims that he
• 8:18
  Speaker 1: made in his December thirty first libel action against The
• 8:21
  Speaker 1: New York Times. Baldoni cited Lively's constant attempts to change
• 8:25
  Speaker 1: things about the film, he was aggressively berated by Lively's husband,
• 8:30
  Speaker 1: Ryan Reynolds, and that Lively persistently tried to overset Baldoni
• 8:35
  Speaker 1: in the editing process. So I decided I thought it
• 8:38
  Speaker 1: was important to make an outline of I like outlines.
• 8:41
  Speaker 1: I like to have a timeline of things, so let's
• 8:44
  Speaker 1: just start with twenty nineteen. This is when Justin Baldoni
• 8:47
  Speaker 1: reads the book.
• 8:48
  Speaker 2: It ends with us, okay, on his own head, that
• 8:51
  Speaker 2: book reads the book, not a script the book.
• 8:53
  Speaker 1: He reads the book. I've read the book. He reads
• 8:56
  Speaker 1: the book, he resonates with it. He founded wayfair Stut
• 9:00
  Speaker 1: Videos on the premise of creating content that was meaningful
• 9:06
  Speaker 1: and positive, and he wanted to make an impact. Okay,
• 9:08
  Speaker 1: it's kind of that kind of guy.
• 9:10
  Speaker 2: Okay. So he likes movies with substance.
• 9:12
  Speaker 1: Movies with substance, movies with a purpose. He made a
• 9:16
  Speaker 1: movie prior to this called five Feet Apart or something
• 9:18
  Speaker 1: like that, and it had to do with a woman
• 9:20
  Speaker 1: dealing with cystic fibrosis. So his intent with forming Wayfarer
• 9:25
  Speaker 1: is to make movies that have a meaningful impact. So
• 9:29
  Speaker 1: he reaches out to Colleen Hoover.
• 9:31
  Speaker 2: So far, so good.
• 9:32
  Speaker 1: Yes, he reaches out to Colleen Hoover, who wrote the book,
• 9:35
  Speaker 1: and he includes all these emails between the two of them,
• 9:38
  Speaker 1: which I think is important.
• 9:39
  Speaker 2: This is her first movie, her first novel that turned
• 9:42
  Speaker 2: to movie. Well.
• 9:42
  Speaker 1: She says in her emails that someone else bought a
• 9:45
  Speaker 1: book option to make a movie, but it never happened.
• 9:47
  Speaker 2: Ye, and it never happened. So this is her first
• 9:50
  Speaker 2: novel that turned in went onto the big screen. Right.
• 9:52
  Speaker 1: And he includes all these emails between him and Colleen
• 9:55
  Speaker 1: Hoover in his complaints, and you can tell that they
• 9:58
  Speaker 1: have a very good chemistry. She likes him, she sees
• 10:02
  Speaker 1: movies that he's made. They have a great rapport. She
• 10:05
  Speaker 1: respects him. She says, I think you are the man
• 10:07
  Speaker 1: to make this movie.
• 10:08
  Speaker 2: She says that in the email.
• 10:10
  Speaker 1: Yes, and it's very important to her that this movie
• 10:15
  Speaker 1: is made in a way where it reflects the seriousness
• 10:18
  Speaker 1: of domestic violence, because that is what the movie is about.
• 10:21
  Speaker 2: I would believe that it's kind.
• 10:24
  Speaker 1: Of a generational because if you read the book or
• 10:26
  Speaker 1: you know anything about the story, the main character, Lily Bloom,
• 10:30
  Speaker 1: has to deal with some domestic violence when she marries Ryle,
• 10:32
  Speaker 1: but she also had domestic violence in her past between
• 10:35
  Speaker 1: her mother and father, and her mother never left. So
• 10:38
  Speaker 1: it delves into the center.
• 10:40
  Speaker 2: And the author didn't want that to be taken away, right,
• 10:44
  Speaker 2: So she says.
• 10:45
  Speaker 1: I think you're the man to do this. I think
• 10:46
  Speaker 1: you can make the movie in a way that it
• 10:48
  Speaker 1: should be made. And she also suggests that he play
• 10:51
  Speaker 1: the main character Ryle.
• 10:54
  Speaker 2: So oh wait, okay, So not that this proves anything,
• 10:58
  Speaker 2: but it's definitely she'll chemistry and approval of him and
• 11:03
  Speaker 2: his interactions, right, Okay.
• 11:05
  Speaker 1: So he buys the rights to this movie, or Wayfair
• 11:09
  Speaker 1: Studios buys it. They partner with Sony. He also partners
• 11:13
  Speaker 1: and I think this is important because I think this
• 11:15
  Speaker 1: goes to really show his intent and his character. He
• 11:18
  Speaker 1: also partners with No More dot Com, which is a
• 11:20
  Speaker 1: domestic violence group, and he wants one percent of all
• 11:23
  Speaker 1: the proceeds from the movie to go to No More.
• 11:26
  Speaker 2: Okay, And that was on his own phrase, on his.
• 11:27
  Speaker 1: Own and he negotiates that. So then in December of
• 11:30
  Speaker 1: twenty twenty.
• 11:31
  Speaker 2: Two, So this sounds like it's he's really doing all
• 11:33
  Speaker 2: this so he can have a defense when files are
• 11:36
  Speaker 2: claimed against him. Right, this is all harassing Blake Lively
• 11:39
  Speaker 2: in the dance floor, That's what it sounds like. It's
• 11:42
  Speaker 2: very intelligent man.
• 11:43
  Speaker 1: Yeah. So then in December of twenty twenty two, they
• 11:45
  Speaker 1: cast Blake Lively as Lily Bloom. I think it's important
• 11:48
  Speaker 1: to note that when she is cast in this movie.
• 11:50
  Speaker 1: The scope of her employment is lead actress.
• 11:53
  Speaker 2: Actress, lead actress, not lead editor, not lead editor, lead
• 11:57
  Speaker 2: actress not director.
• 11:59
  Speaker 1: Right. They also she gets I guess an executive.
• 12:03
  Speaker 2: Ryan Reynolds any way, he was not. Okay, he's husband
• 12:08
  Speaker 2: of lead actress.
• 12:09
  Speaker 1: He's a husband of good actress. That's it. And she
• 12:12
  Speaker 1: is given an executive producer credit, which they state that
• 12:16
  Speaker 1: that's common when someone's an A list actress, that that's
• 12:19
  Speaker 1: just a norm that comes along with it. First of all,
• 12:30
  Speaker 1: I just want to establish some things because we're going
• 12:33
  Speaker 1: to get into that ten minute video and let's talk
• 12:34
  Speaker 1: about that that was released by Baldoni's team. But let's
• 12:39
  Speaker 1: talk about right from the beginning of this movie, Blake
• 12:42
  Speaker 1: Lively exerts control over basically everything, but the first thing
• 12:49
  Speaker 1: is wardrobe. She completely gets rid of the wardrobe that
• 12:53
  Speaker 1: they've curated for this character, Lily Bloom, who is a
• 12:56
  Speaker 1: twenty three year old who just graduated from college and
• 13:00
  Speaker 1: she's opening up a small business, which is a Flora's shop.
• 13:04
  Speaker 1: How old is Blake Lively in her life? Blake Lightly
• 13:06
  Speaker 1: is thirty seven. She's playing a twenty three year old.
• 13:10
  Speaker 2: That's insane, Okay, and the character in the movie is
• 13:13
  Speaker 2: still twenty three. Yes, okay, okay, Well, no, I think
• 13:16
  Speaker 2: or young as young in the early twenties.
• 13:18
  Speaker 1: Well, I think they don't address her age in the movie,
• 13:20
  Speaker 1: but I do.
• 13:21
  Speaker 2: I did read, and.
• 13:22
  Speaker 1: I'm not sure where I read this, but that Blake
• 13:24
  Speaker 1: Lively wanted Colleen Hoover during this when they're interviewing about
• 13:28
  Speaker 1: the movies, to talk about how they aged up the character.
• 13:32
  Speaker 2: But nonetheless, she now added to her role. What's it
• 13:39
  Speaker 2: called when you get the clothes wardrobe?
• 13:42
  Speaker 1: Wardrobe?
• 13:43
  Speaker 2: Thank you? Okay, So now she took on the title
• 13:45
  Speaker 2: of wardrobe.
• 13:46
  Speaker 1: Yes, so she takes over wardrobe. She gets rid of
• 13:49
  Speaker 1: all that they all that they've bought for this character.
• 13:52
  Speaker 1: She isn't like any of it.
• 13:53
  Speaker 2: Do you have email histories or texting histories of this.
• 13:56
  Speaker 1: I think there's a little bit, but trust me, you
• 13:58
  Speaker 1: don't even need text message up because I saw the
• 14:02
  Speaker 1: movie and I'm sorry, but the wardrobe on Lily Bloom
• 14:04
  Speaker 1: was a disaster. It was chaotic. I remember sitting in
• 14:09
  Speaker 1: the movie theater watching it and I couldn't pay attention
• 14:12
  Speaker 1: to what was going on because I kept thinking, what
• 14:14
  Speaker 1: is she wearing?
• 14:16
  Speaker 2: It was what's like the dressed like in real life.
• 14:20
  Speaker 1: I don't know. I don't really pay attention to what
• 14:22
  Speaker 1: she dresses like. But here's the problem. I don't think
• 14:24
  Speaker 1: Blake Lively read the book. He alleges that in his complaint.
• 14:28
  Speaker 1: I don't think she understood the essence of the character,
• 14:33
  Speaker 1: and I think she tried to make it into something
• 14:35
  Speaker 1: else that did not work.
• 14:36
  Speaker 2: She also not why why did she a certain style?
• 14:40
  Speaker 1: I think she just wanted a certain style. I think
• 14:42
  Speaker 1: she She talks about how she wore some of her
• 14:44
  Speaker 1: husband's clothes, how she wore some of Gigi Hadid's clothes,
• 14:47
  Speaker 1: that she wore her own clothes that she wore. I
• 14:51
  Speaker 1: don't know.
• 14:51
  Speaker 2: I'm to wear a deadpool outfant she wear her husband's clothes?
• 14:55
  Speaker 1: No, she She wore a lot of oversized things that
• 14:58
  Speaker 1: just it was all right. It was beanies and car
• 15:04
  Speaker 1: hearts and camo jackets. And I don't know. The wardrobe
• 15:09
  Speaker 1: was hideous if you ask me. It was basically ignoring
• 15:12
  Speaker 1: the director's vision for her character and disposing of the
• 15:14
  Speaker 1: weeks of effort and creativity spent by the wardrobe team.
• 15:17
  Speaker 1: The costume designer had to reshop the entire wardrobe. Also,
• 15:22
  Speaker 1: during this time period, paparazzi took photos of her filming,
• 15:25
  Speaker 1: and people online were also talking about how this is chaotic.
• 15:30
  Speaker 1: So I want to show you some images. Also, the
• 15:32
  Speaker 1: other thing that really bothered me was that she carried
• 15:35
  Speaker 1: Valentino bags all the time. We're talking about this character
• 15:38
  Speaker 1: is a twenty three year old girl who, when I
• 15:41
  Speaker 1: read the book, thought she came from just a regular
• 15:43
  Speaker 1: middle class family who went to college, had just graduated
• 15:47
  Speaker 1: from college and opened up a small business, probably with
• 15:50
  Speaker 1: a business loan or you know. I didn't ever take
• 15:54
  Speaker 1: away from the book that there was money. So the
• 15:57
  Speaker 1: fact that she's wearing these chaotic outfits with a Valentino
• 16:01
  Speaker 1: bag really bothered me. But anyway, I'm gonna show you
• 16:04
  Speaker 1: some of these outfits.
• 16:06
  Speaker 2: Oh yeah, that looks like, uh, what is that like?
• 16:11
  Speaker 1: I don't understand what that is. Is that boxers with
• 16:14
  Speaker 1: it is a little confused low pants over the top
• 16:17
  Speaker 1: of the boxer.
• 16:18
  Speaker 2: That is bad. Also, I don't even think I could
• 16:20
  Speaker 2: try to dress that bad.
• 16:21
  Speaker 1: She's also supposed to be twenty three, and I am
• 16:24
  Speaker 1: not putting down Blake.
• 16:25
  Speaker 2: Likely that's great, but she's not twenty three.
• 16:27
  Speaker 1: Blake lightly is thirty seven, She's had four children. She's beautiful.
• 16:30
  Speaker 1: I'm not even though I don't particularly like her, I
• 16:33
  Speaker 1: would never not say that she doesn't look good. Also,
• 16:36
  Speaker 1: there's one other thing I have to say about this
• 16:37
  Speaker 1: flower shop in the movie that really bothered me. And
• 16:39
  Speaker 1: I haven't ever heard anyone else comment on it, But
• 16:42
  Speaker 1: when I envision this flower shop that Lily Bloom, she
• 16:46
  Speaker 1: opens up a small.
• 16:47
  Speaker 2: Business as a floorist.
• 16:48
  Speaker 1: Yeah, then the flower shop that they depicted in the movie, Like,
• 16:53
  Speaker 1: are there any live flowers in this flower shop? Or
• 16:57
  Speaker 1: is it all dead dry flowers? I was so confused
• 17:00
  Speaker 1: about the aesthetics of this flower shop.
• 17:02
  Speaker 2: Well they should have had yeah that they should have
• 17:05
  Speaker 2: been on top of that, right.
• 17:06
  Speaker 1: It had this very edgy, dark, dead flower kind of feel,
• 17:12
  Speaker 1: and I was so confused by it. I was like,
• 17:14
  Speaker 1: this woman opened a flower shop and these where are
• 17:17
  Speaker 1: the bright live flowers? Anyway, that bothered me. I don't
• 17:21
  Speaker 1: know if it bothered anyone else or if anyone else
• 17:23
  Speaker 1: noticed that it is, but I felt the need to
• 17:26
  Speaker 1: still talk about it because it bothered me. She also
• 17:29
  Speaker 1: starts rewriting scenes. There's the iconic rooftop scene where Lily
• 17:34
  Speaker 1: and Ryle first meet, she wants to take a stab
• 17:38
  Speaker 1: at rewriting the entire scene. Again. She hasn't read the book,
• 17:42
  Speaker 1: so I think. So Justin is like, okay, why don't you?
• 17:45
  Speaker 1: And there are text messages.
• 17:46
  Speaker 2: I wonder if it was her.
• 17:49
  Speaker 1: Reynolds, I don't know. I mean, that's a good point,
• 17:52
  Speaker 1: but Justin is. You can tell in his messages with
• 17:55
  Speaker 1: her that he's like, okay, like he he knows that
• 18:00
  Speaker 1: he has to give her what she wants.
• 18:03
  Speaker 2: I've been in his positions.
• 18:06
  Speaker 1: He's walking on eggshells. You can tell she's like, I
• 18:10
  Speaker 1: have to give her a little and try not to
• 18:13
  Speaker 1: let her just completely take over. So he's like, okay, well, why.
• 18:15
  Speaker 2: He's trying to keep peace. He's trying to appease her,
• 18:18
  Speaker 2: probably only as far as he's okay with.
• 18:22
  Speaker 1: Right, So she rewrites this rooftop scene. She gives it
• 18:25
  Speaker 1: back to him, and in a text message, he says
• 18:28
  Speaker 1: something to the effect of he thanks her for her passion,
• 18:33
  Speaker 1: and then says something to the effect of it most
• 18:36
  Speaker 1: likely will end up being a mix of what the
• 18:38
  Speaker 1: original script is and maybe some of your ideas. Then
• 18:43
  Speaker 1: she sends him this big, long text, and this is
• 18:45
  Speaker 1: where we get into I'm sure if you've seen the articles,
• 18:48
  Speaker 1: this is where we get into the Game of Thrones texts. Okay, Well,
• 18:53
  Speaker 1: she basically sends him this long text talking about it's
• 18:58
  Speaker 1: really making reference to Ryan Reynolds and Taylor Swift and
• 19:01
  Speaker 1: about how they are her. She writes this scene and
• 19:05
  Speaker 1: then she gives it to him, and she's pissed that
• 19:08
  Speaker 1: he said thank you for your passion, like she didn't
• 19:10
  Speaker 1: like that. So she writes him back this long text
• 19:14
  Speaker 1: about this scene, and she basically refers to herself, I'll.
• 19:19
  Speaker 2: Read it being a swift you have to do with anything.
• 19:21
  Speaker 1: I don't know. If you ever get around to watching
• 19:23
  Speaker 1: Game of Thrones, you'll appreciate that. I'm Kalisi and like her,
• 19:27
  Speaker 1: I happen to have a few dragons, for better or worse,
• 19:30
  Speaker 1: but usually the better because my dragons also protect those
• 19:34
  Speaker 1: that I fight for. So really, we all benefit from
• 19:36
  Speaker 1: these gorgeous monsters of mine. You will too, I can
• 19:40
  Speaker 1: promise you to me. That's a very veiled threat. That's
• 19:44
  Speaker 1: basically like, look, buddy, I had Taylor Swift and Ryan
• 19:48
  Speaker 1: Reynolds backing me, and they're telling me that what I
• 19:51
  Speaker 1: wrote was great.
• 19:52
  Speaker 2: Yeah, what does that have to do with What do
• 19:54
  Speaker 2: they have to do with anything.
• 19:55
  Speaker 1: I think she's just using I know everybody.
• 19:57
  Speaker 2: Now. It demonstrates that she thinks someone as successful as
• 20:01
  Speaker 2: Taylor Swift and Ryan Reynolds makes like she's trying to say, like,
• 20:06
  Speaker 2: I got those people behind me, so you better do
• 20:09
  Speaker 2: as I say.
• 20:10
  Speaker 1: Right.
• 20:10
  Speaker 2: So, then not like they're in the industry and they
• 20:14
  Speaker 2: have credibility and they're saying this is good and we
• 20:17
  Speaker 2: should listen to their advice. It's like Taylor Swiss is
• 20:23
  Speaker 2: my bestie and therefore that's stupid.
• 20:26
  Speaker 1: And also it's not just that scene. I think she
• 20:29
  Speaker 1: rewrites that scene, But then as far as as his
• 20:32
  Speaker 1: complaint goes, she consistently rewrites scenes, rewrites the script.
• 20:36
  Speaker 2: She probably didn't know how to read the script. I
• 20:39
  Speaker 2: don't know what I don't like her.
• 20:42
  Speaker 1: I know you're getting very frustrated over there.
• 20:44
  Speaker 2: And I liked Ryan Reynolds, yeah, and now I don't
• 20:47
  Speaker 2: know if I like them. She when she mentions her husband,
• 20:52
  Speaker 2: she wouldn't have done that unless they were already having
• 20:55
  Speaker 2: intense conversations. No, it's not like he just says, oh, yeah,
• 21:00
  Speaker 2: that sounds great, whatever you want, no big deal, and
• 21:02
  Speaker 2: then she runs and says, I got Ryan Reynolds backing
• 21:04
  Speaker 2: me up. Yeah, they probably had heavy discussions. He might
• 21:07
  Speaker 2: even said he might help, you know, he probably helped
• 21:09
  Speaker 2: her write that.
• 21:10
  Speaker 1: Oh well, then that's very interesting because then during the
• 21:13
  Speaker 1: premiere of the movie, they asked her about the rooftop scene,
• 21:16
  Speaker 1: and she goes, oh, I'll let you in on a
• 21:18
  Speaker 1: little secret. I've never told anyone this before, but Ryan
• 21:21
  Speaker 1: actually wrote that song.
• 21:22
  Speaker 2: Oh yes.
• 21:24
  Speaker 1: So then in the complaint, she's trying to give him credit.
• 21:28
  Speaker 1: You know, I don't know. I don't know if it
• 21:29
  Speaker 1: was Ryan, I don't know if it was her. I
• 21:30
  Speaker 1: don't know if it was both of them. I don't
• 21:32
  Speaker 1: know how much was.
• 21:33
  Speaker 2: Actually said it was him, But I mean she was
• 21:35
  Speaker 2: trying what a so then and we canceled them already.
• 21:40
  Speaker 1: So then then the complaint, justin Baldoni, includes letters going
• 21:45
  Speaker 1: back and forth between Sony and Wayfair and people are like, hey,
• 21:50
  Speaker 1: did he write the scene? Because do we need to
• 21:53
  Speaker 1: give him writing credit? And everyone's confused, right, and they
• 21:57
  Speaker 1: don't know what's going on. So I to me, I
• 22:02
  Speaker 1: feel nothing but sorry for this guy.
• 22:03
  Speaker 2: After that shows when Blake Lely doesn't know her scope
• 22:07
  Speaker 2: of work what she was hired for and to respect
• 22:11
  Speaker 2: other people's positions, and she just takes over. And then
• 22:14
  Speaker 2: what you said where she says, Oh, I'm going to
• 22:16
  Speaker 2: let you know a little secret run on Reynolds wrote it.
• 22:18
  Speaker 2: Then she's stupid for not knowing how the industry works,
• 22:22
  Speaker 2: where you can't. I mean, there's credits on those movies
• 22:25
  Speaker 2: for a reason, and they follow whatever the guidelines are
• 22:27
  Speaker 2: with the unions and whatever it is to make sure
• 22:30
  Speaker 2: people get the credit they deserve. And here she has
• 22:33
  Speaker 2: this thrown out credit Willie Nilly in a big pr
• 22:37
  Speaker 2: you know interview, right.
• 22:40
  Speaker 1: So then behind the scenes there's all these you know,
• 22:42
  Speaker 1: communications going back and forth of like do we have
• 22:44
  Speaker 1: to give him a writing credit? Did he really write it?
• 22:46
  Speaker 1: What's going on? We don't understand.
• 22:49
  Speaker 2: So I don't know why you like her. I always
• 22:54
  Speaker 2: did up until recently.
• 22:56
  Speaker 1: I actually went into studying this case very impartially.
• 23:01
  Speaker 2: I used to like Ryan Reynolds only from two Me
• 23:05
  Speaker 2: and a Girl in a Pizza Place that was his
• 23:09
  Speaker 2: TV show he had a long time ago, and then
• 23:11
  Speaker 2: he never did a good movie since No, you don't
• 23:13
  Speaker 2: think no, but he has a great agent because he
• 23:15
  Speaker 2: did a lot of flops. So that's that agent is
• 23:19
  Speaker 2: earning his money. And no, I definitely don't like Ryan
• 23:22
  Speaker 2: and I fell asleep during the first Deadpool, yeah, and
• 23:26
  Speaker 2: I never saw the others.
• 23:27
  Speaker 1: Right, well, we have to get to dead Sell because
• 23:29
  Speaker 1: you ought that has to do with that. All right,
• 23:30
  Speaker 1: let's move on to the scene that is. It's the
• 23:34
  Speaker 1: ten minute scene that's all over Brian Friedman.
• 23:37
  Speaker 2: This is that dancing scene.
• 23:38
  Speaker 1: That's the dancing I didn't watch it yet, Well you
• 23:40
  Speaker 1: were supposed to, but.
• 23:41
  Speaker 2: Well I read about it.
• 23:44
  Speaker 1: So Brian Friedman releases it and it's ten minutes long.
• 23:49
  Speaker 1: I watched some of it, not the whole thing.
• 23:51
  Speaker 2: Okay, hold on. What I do know is from what
• 23:53
  Speaker 2: I read, she didn't think there was audio. Yeah, and
• 23:58
  Speaker 2: so if if from her point of view she did
• 24:01
  Speaker 2: not believe there was audio, it was only video because
• 24:03
  Speaker 2: it's just used as them, whether it's like background music
• 24:06
  Speaker 2: or whatever. Right, it's just like silent scenes of them
• 24:08
  Speaker 2: being intimate or whatever. Right, So she didn't think there
• 24:10
  Speaker 2: was audio, and so she used that scene to be
• 24:16
  Speaker 2: able to create her own narrative. Yeah, I agree, And
• 24:18
  Speaker 2: we learned from earlier in the succession of Baldini, smart
• 24:21
  Speaker 2: enough to protect himself from being you know that he
• 24:25
  Speaker 2: probably had a mic on him for a reason.
• 24:27
  Speaker 1: Probably so. The video of the end it ends with
• 24:32
  Speaker 1: a set footage. It was provided by Baldoni's team, and
• 24:36
  Speaker 1: it shows footage of Lively filming a scene with Baldoni
• 24:39
  Speaker 1: in which their character slow dance for a slow motion
• 24:41
  Speaker 1: montage intended to have no dialogue. The co stars speak
• 24:45
  Speaker 1: to each other out of character while filming. You know.
• 24:48
  Speaker 1: She jokes about his nose. She says he should take
• 24:50
  Speaker 1: I don't know what, an insurance month. But she tells
• 24:52
  Speaker 1: him he should get a nose job and take an
• 24:53
  Speaker 1: insurance month. I'm sure that's movie lingo. She talks about,
• 25:00
  Speaker 1: don't knows with She talks about Ryan and how they
• 25:02
  Speaker 1: look into each other's eyes or something, and he says.
• 25:05
  Speaker 2: Oh, she's comfortable talking.
• 25:07
  Speaker 1: And talking out of character. She accuses him of not
• 25:11
  Speaker 1: being in character during this scene, and that's supposedly what
• 25:14
  Speaker 1: makes her uncomfortable is he's not Rile, He's being himself.
• 25:18
  Speaker 1: So that's why you.
• 25:19
  Speaker 2: Say character is to make fun of his nose.
• 25:21
  Speaker 1: Right, So she's uncomfortable, but she's also out of character too.
• 25:26
  Speaker 1: She's talking about you know.
• 25:27
  Speaker 2: Now I'm going to compare Baldini's nose to Ryan's nose.
• 25:30
  Speaker 2: It's what's his name? I want to compare their noses.
• 25:36
  Speaker 2: See what's her deal?
• 25:37
  Speaker 1: Anyway, they released the footage as far as I'm concerned, Look,
• 25:43
  Speaker 1: let's be honest. Here an intimate romantic scene between two
• 25:48
  Speaker 1: actors that are married to other people and have children
• 25:50
  Speaker 1: with other people. I'm sorry that professional for decades, right,
• 25:55
  Speaker 1: but I don't care. It's inherently uncomfortable. Regardless you have
• 26:00
  Speaker 1: to make out with someone. These two people are in love.
• 26:03
  Speaker 2: Well, a professional, it would not be inherently awkward because
• 26:06
  Speaker 2: they would get into character and they would do it.
• 26:09
  Speaker 2: And maybe everyone has different levels of awkwardness or uncomfortableness
• 26:13
  Speaker 2: or whatever, but you're a professional, and that's what the
• 26:17
  Speaker 2: job calls for.
• 26:18
  Speaker 1: Right. Well, she is claiming that she was uncomfortable, that
• 26:22
  Speaker 1: there's no intimacy coordinator on SEIDS, and you know, his
• 26:27
  Speaker 1: complaint alleges that she never signed her nudity writer and
• 26:31
  Speaker 1: that she never met with them.
• 26:33
  Speaker 2: Tell me what a nudy writer is, because you've been
• 26:34
  Speaker 2: talking about that all week and I have no idea
• 26:36
  Speaker 2: what a nudy.
• 26:37
  Speaker 1: Because I need my own nudity writer is tell me
• 26:41
  Speaker 1: what it is and I'll let you know. So, when
• 26:43
  Speaker 1: there is an actress or an actor in a movie
• 26:46
  Speaker 1: and they have to do simulated sex scenes, they have
• 26:49
  Speaker 1: a separate contract that's called a nudity writer.
• 26:51
  Speaker 2: Is that like their boundaries or something?
• 26:53
  Speaker 1: I believe. So, I've never read one, but I looked
• 26:55
  Speaker 1: it up and basically, an intimacy coordinator looks at the
• 26:58
  Speaker 1: nudity writer. It's a contract and they say, Okay, it
• 27:01
  Speaker 1: looks good. This is what you're comfortable with with you
• 27:03
  Speaker 1: or not. Maybe this is when you use a stunt double.
• 27:05
  Speaker 2: This is oh, but then what was the intimacy coordinator?
• 27:09
  Speaker 1: The intimacy coordinator is a person that's supposedly on set
• 27:13
  Speaker 1: that actually works out the sex scenes and the romantic scenes. Okay,
• 27:19
  Speaker 1: there is an intimacy coordinator that they hired for this movie,
• 27:23
  Speaker 1: and she she claims that she's uncomfortable, but she could
• 27:27
  Speaker 1: have met with an intimacy.
• 27:28
  Speaker 2: But I'm surprised they were able to move forward without
• 27:30
  Speaker 2: her agreeing or meeting with this intimacy coordinator.
• 27:33
  Speaker 1: Well, there's a text message where he says, do you
• 27:35
  Speaker 1: want to meet with her? And she's no, it's like, no,
• 27:37
  Speaker 1: I'm good.
• 27:37
  Speaker 2: I remember you tell me that, But I can't imagine
• 27:40
  Speaker 2: why they move forward. They should have been like, well, no,
• 27:43
  Speaker 2: then you sign here to wave it. Like when someone
• 27:46
  Speaker 2: gets injured at work and they fall and they get
• 27:49
  Speaker 2: hurt and they're like, no, I don't want medical attention.
• 27:51
  Speaker 2: It's like, okay, then sign here saying you wave medical
• 27:55
  Speaker 2: attention so you can't later say you didn't get it.
• 27:58
  Speaker 2: So that's where he messed up. No I don't and
• 28:01
  Speaker 2: I'm not saying he did anything bad or wrong, but
• 28:03
  Speaker 2: he messed up by saying, okay, then you sign here
• 28:06
  Speaker 2: saying that you wave an intimacy coordinator.
• 28:09
  Speaker 1: Well, I don't think she's necessarily waving it. She's just
• 28:12
  Speaker 1: saying waving the meeting waving it. Yeah, so I so okay. Well,
• 28:16
  Speaker 1: he goes to these meetings with the intimacy coordinator, he
• 28:18
  Speaker 1: takes handwritten notes, and then he has to go back
• 28:20
  Speaker 1: and share these handwritten notes with her. Apparently this scene,
• 28:25
  Speaker 1: the scene, this montage, this romantic scene where they're kissing.
• 28:29
  Speaker 1: Apparently she knew about the scene and she rewrote the scene.
• 28:33
  Speaker 1: That's what he alleges. So the fact that she feels
• 28:36
  Speaker 1: uncomfortable To me, looks like a retroactive way to go
• 28:40
  Speaker 1: back and look for something that at the time was
• 28:42
  Speaker 1: probably innocuous or benign or not really that big of
• 28:45
  Speaker 1: a deal. But it's a way for her to latch
• 28:47
  Speaker 1: onto something and say, hey, I felt uncomfortable there. M hm.
• 28:52
  Speaker 2: So didn't they have Did they have any intimate scenes
• 28:55
  Speaker 2: in the movie?
• 28:56
  Speaker 1: Yeah, there's a lot.
• 28:56
  Speaker 2: So why didn't she use those scenes because those scenes
• 29:00
  Speaker 2: character I felt something down there.
• 29:02
  Speaker 1: No, I'll tell you why. Because those scenes were filmed
• 29:06
  Speaker 1: after the break, after they went on strike, production shut down.
• 29:11
  Speaker 2: Okay, but how does that break change things? So is
• 29:13
  Speaker 2: that she can't bring up those scenes.
• 29:15
  Speaker 1: Because those weren't filmed. This movie is divided into two parts.
• 29:18
  Speaker 1: They filmed half of the movie, then there were the strikes.
• 29:22
  Speaker 1: The strikes they did not film between June twenty seventh
• 29:25
  Speaker 1: and November ninth. During that time period, she was asking
• 29:29
  Speaker 1: for the raw footage, which is called dailies. I had
• 29:32
  Speaker 1: to look this up. Dailies is just the raw footage
• 29:34
  Speaker 1: from the day. It's not edited.
• 29:35
  Speaker 2: It's just the raw foot which is timestamp for that day. R.
• 29:38
  Speaker 1: Yeah, something happened between June twenty seventh and November ninth,
• 29:41
  Speaker 1: when she when they go the strike ends, they can
• 29:44
  Speaker 1: go back to work, and she sends a letter via
• 29:46
  Speaker 1: her attorneys saying she refuses a film unless they sign
• 29:51
  Speaker 1: this seventeen conditions that they all have to agree to
• 29:53
  Speaker 1: for her to return to work. It's these protections that
• 29:56
  Speaker 1: she needs in place. This is what I think happened.
• 29:59
  Speaker 1: I think she was asking for the raw footage because
• 30:01
  Speaker 1: she wants to take over. She wants to edit it.
• 30:04
  Speaker 1: He's giving her a little because he's walking on eggshells
• 30:06
  Speaker 1: all the time around her. He has to keep her happy.
• 30:08
  Speaker 1: He has to give her what she wants because in
• 30:12
  Speaker 1: this she gets the raw footage. I think Ryan Reynolds
• 30:16
  Speaker 1: sees the raw footage. I think Justin Baldoni is a
• 30:21
  Speaker 1: very handsome man, is he? I think I think he's
• 30:27
  Speaker 1: very good looking. And they have these intimate scenes together.
• 30:32
  Speaker 1: They have to kiss, they have to be close. I
• 30:34
  Speaker 1: think Ryan Reynolds got jealous and I think something happened
• 30:38
  Speaker 1: during that time period where he was not happy about
• 30:42
  Speaker 1: this close working relationship between the two of them, and
• 30:44
  Speaker 1: he wanted to exert his power in his ego. He
• 30:48
  Speaker 1: wanted to put this guy in his place, like, this
• 30:51
  Speaker 1: is my wife. And she has a history of having
• 30:54
  Speaker 1: relationships with her co stars. When she was on Gossip Girl,
• 31:00
  Speaker 1: she had a relationship with one of the other actors.
• 31:03
  Speaker 1: Wasn't he was married to Scarlet Johansson on Green Lantern?
• 31:06
  Speaker 1: And then Wasn't She on Was she in the movie too?
• 31:08
  Speaker 1: And then he ended up being with her. Anyway, she
• 31:11
  Speaker 1: has a history of dating her co stars or having relationships.
• 31:14
  Speaker 2: With her car and Ryan probably knows.
• 31:17
  Speaker 1: This, and he knows this. I think he became extremely jealous.
• 31:20
  Speaker 1: I think he did not want Justin Baldoni to have
• 31:23
  Speaker 1: all the control and power that he had. He owns
• 31:26
  Speaker 1: the movie, his studio is the one producing it, he's
• 31:29
  Speaker 1: the director. He has these scenes with her. He's a
• 31:34
  Speaker 1: good looking guy. I think he probably.
• 31:36
  Speaker 2: Said his nose.
• 31:39
  Speaker 1: I mean, the nose doesn't bother me at all. I'm
• 31:41
  Speaker 1: fine with the note. But I don't know. Maybe he
• 31:44
  Speaker 1: saw the scene where he takes his shirt off, because.
• 31:47
  Speaker 2: Those dailies, so we don't know what they saw because
• 31:49
  Speaker 2: it didn't Maybe there was some right.
• 31:52
  Speaker 1: There's also a lot of flirtatious texts between them, and
• 31:55
  Speaker 1: I don't mean flirtatious in the way where I think
• 31:58
  Speaker 1: there were lines crossed. I just mean there was a
• 32:01
  Speaker 1: good working relationship between the two of them in the beginning.
• 32:04
  Speaker 2: They were comfortable before the strikes, right, Like, what would
• 32:07
  Speaker 2: be an example, even if you're just paraphrase, just she.
• 32:10
  Speaker 1: Sends him lots of text praising him and how they're
• 32:13
  Speaker 1: working together and they're collaborating, and she's so excited to
• 32:16
  Speaker 1: be on this journey with him and they're going to
• 32:18
  Speaker 1: make this great.
• 32:18
  Speaker 2: Movie, basically saying I'm not uncomfortable with you, right, Okay,
• 32:22
  Speaker 2: who's better looking Ryan or what was his name? Justin?
• 32:26
  Speaker 1: Oh?
• 32:26
  Speaker 2: Justin?
• 32:27
  Speaker 1: Oh? Yeah, oh yeah, like hands down.
• 32:30
  Speaker 2: But Ryan's considered good looking.
• 32:33
  Speaker 1: Yeah, I mean he's not a bad looking guy. I
• 32:35
  Speaker 1: think he's good looking. But I think Justin Baldoni's beautiful, Like,
• 32:39
  Speaker 1: he's a beautiful man. You ask.
• 32:42
  Speaker 2: So, I don't know. I heard his nose is pretty big,
• 32:46
  Speaker 2: so he might want to reconcined.
• 32:48
  Speaker 1: I don't know. That doesn't bother me. I told you,
• 32:58
  Speaker 1: let's talk about Maybe there is the possibility that Ryan
• 33:03
  Speaker 1: Reynolds read some of the text messages between Justin and Blake.
• 33:08
  Speaker 2: Yeah.
• 33:08
  Speaker 1: Sure, because some of the text messages that he includes
• 33:11
  Speaker 1: in his complaints are flirty, and we talked about this
• 33:13
  Speaker 1: a little bit before. Yeah, they're definitely not just work related.
• 33:18
  Speaker 1: They get into you know, there's there's a text exchange
• 33:21
  Speaker 1: where he says something to the effect of like, oh,
• 33:24
  Speaker 1: I like nice Blake or I like vulnerable Blake. I
• 33:27
  Speaker 1: don't remember what it was, and she said, oh, you
• 33:28
  Speaker 1: mean instead of asshole Blake and he's like, yeah, I
• 33:31
  Speaker 1: don't know. They just they're being friendly, maybe too friendly.
• 33:35
  Speaker 1: But I think, to me, I think he's just going
• 33:38
  Speaker 1: with whatever direction she goes in, so that he's just
• 33:41
  Speaker 1: kind of on the same page with her. But let's
• 33:44
  Speaker 1: say maybe Ryan Reynolds got a hold of her phone
• 33:47
  Speaker 1: saw these text messages between the two of them also.
• 33:50
  Speaker 2: Which added to the concern that he had right her
• 33:53
  Speaker 2: and being close to the co star.
• 33:55
  Speaker 1: Right, So maybe if we look at it as he's
• 33:58
  Speaker 1: he's seen this raw footage of the two of them together,
• 34:00
  Speaker 1: the chemistry between them is palpable.
• 34:03
  Speaker 2: Knows who knows what Blake old Ryan to explain. He says,
• 34:08
  Speaker 2: what are these text messages? And then she has to say, oh,
• 34:12
  Speaker 2: he smelled me when we were dancing it, right, So
• 34:17
  Speaker 2: I think that it might just be a conglomeration of
• 34:22
  Speaker 2: he's a good looking guy, this is his movie.
• 34:25
  Speaker 1: He's the director, he's the producer. They have an intimate
• 34:29
  Speaker 1: working relationship. I think they get friendly in the beginning,
• 34:31
  Speaker 1: and they have a lot of friendly banter. I think
• 34:34
  Speaker 1: they also spend a lot of time together because she
• 34:36
  Speaker 1: wants to rewrite all these scenes and rework things, and
• 34:39
  Speaker 1: he says in his complaint that they spend long hours
• 34:41
  Speaker 1: together into the night, laughing and rewriting scenes together. I
• 34:46
  Speaker 1: think maybe not only was Ryan jealous of maybe what
• 34:50
  Speaker 1: he saw in these dailies when she starts asking for
• 34:52
  Speaker 1: this raw footage, but also the text messages the rapport
• 34:55
  Speaker 1: between them, because to me, it seems like there was
• 34:58
  Speaker 1: such a shift from the first half of the movie
• 35:02
  Speaker 1: being filmed yeah, to the second half that maybe Ryan
• 35:06
  Speaker 1: Reynolds came in put his foot down and said, we're
• 35:08
  Speaker 1: going to squash this guy. He's not going to talk
• 35:10
  Speaker 1: to my wife like that. He's not going to get
• 35:11
  Speaker 1: close to my wife like that.
• 35:13
  Speaker 2: I'm a Deadpool. I am dead Pool. This is not
• 35:16
  Speaker 2: a robber. So wow.
• 35:19
  Speaker 1: Anyway, here's my final thought on the ten minute scene
• 35:23
  Speaker 1: that was released.
• 35:25
  Speaker 2: Oh wait, that ten minutes unedited yes, it's just raw footage,
• 35:28
  Speaker 2: ten minutes of them dancing right and talking. Well, they're
• 35:32
  Speaker 2: just capturing footage, right, Okay, go ahead.
• 35:35
  Speaker 1: And then she says in her complaint that he, you know,
• 35:38
  Speaker 1: kissed her down her neck and said it smells so good,
• 35:41
  Speaker 1: which sounds so creepy, but I tell you smell good
• 35:44
  Speaker 1: all the time. Yeah, okay, it sounds a little creepy.
• 35:48
  Speaker 1: But when you watch the actual footage, she she says,
• 35:52
  Speaker 1: I'm sorry about my spray tond and you know, my
• 35:54
  Speaker 1: body makeup or whatever, and he goes, no, it smells good.
• 35:57
  Speaker 1: That's completely different.
• 35:58
  Speaker 2: Well, that was very nice of him, because I know,
• 36:00
  Speaker 2: first hands very handsy, not small.
• 36:02
  Speaker 1: They don't. I was being very he was being kind.
• 36:04
  Speaker 1: I think he was being kind trying to make her
• 36:06
  Speaker 1: feel comfortable. Anyway, my takeaway is that you're talking about
• 36:11
  Speaker 1: a woman who has exerted control from day one over
• 36:14
  Speaker 1: this movie. She didn't want to meet with an intimacy coordinator.
• 36:17
  Speaker 1: She takes over the wardrobe, she rewrites scenes, she rewrites
• 36:20
  Speaker 1: the script, she asks for the dailies, she wants to
• 36:22
  Speaker 1: edit the movie herself. And you're gonna tell me that
• 36:25
  Speaker 1: she felt uncomfortable. Yeah, if if she was legitimately uncomfortable
• 36:31
  Speaker 1: and felt like it was to the level of a
• 36:33
  Speaker 1: sexual harassment allegation, you're gonna tell me that she wouldn't
• 36:38
  Speaker 1: walk away, that she wouldn't demand the intimacy coordinator.
• 36:41
  Speaker 2: Now know that Ryan Reynolds was involved, not saying it
• 36:45
  Speaker 2: was inappropriate, but he's in faulved of the script. You know,
• 36:48
  Speaker 2: he rewrote some scenes and all this stuff, and then
• 36:54
  Speaker 2: plus us thinking that he was jealous, right, and then
• 36:57
  Speaker 2: he's gonna let her get I'm sorry, if you came
• 36:59
  Speaker 2: home and we're telling me about someone at work that
• 37:02
  Speaker 2: was inappropriate to you or make you feel uncomfortable, I
• 37:04
  Speaker 2: wouldn't be like, oh well, let's just rewrite the scene.
• 37:07
  Speaker 2: Oh well, let's just not let him come to the premiere,
• 37:10
  Speaker 2: Oh well, let's just write this little thing with the
• 37:12
  Speaker 2: civil Board whatever. I would be like, no, let that's
• 37:15
  Speaker 2: either quit, like get away, or we need to do
• 37:19
  Speaker 2: something about this. So you're so liared.
• 37:22
  Speaker 1: So you're saying that all of these allegations would have
• 37:25
  Speaker 1: been addressed in the moment at that time, not later
• 37:27
  Speaker 1: in a lawsuit.
• 37:28
  Speaker 2: And I can appreciate that some people and maybe women
• 37:31
  Speaker 2: in this case might not until later, and there's many
• 37:35
  Speaker 2: reasons why people might hold off making a formal complaint.
• 37:38
  Speaker 2: I get that, But she had Ryan Reynolds backing her up,
• 37:42
  Speaker 2: and he is not uncomfortable in the workplace. He's very familiar,
• 37:45
  Speaker 2: they have resources, they have decades of experience to know
• 37:50
  Speaker 2: what's appropriate, inappropriate, they would have done something right then
• 37:53
  Speaker 2: and there.
• 37:53
  Speaker 1: I don't disagree with that, all right. I just want
• 37:56
  Speaker 1: to take one other thing from his complaint because I
• 37:58
  Speaker 1: have a feeling that if they end up releasing any
• 38:00
  Speaker 1: more raw footage, it will be this scene. That's just
• 38:03
  Speaker 1: me speculating, Okay, what is it? She also talks about
• 38:06
  Speaker 1: in her original complaint that she was very uncomfortable during
• 38:10
  Speaker 1: the birthing scene. There's a scene where she gives birth,
• 38:13
  Speaker 1: and she talks about how she only had like a
• 38:15
  Speaker 1: small strip of just like barely any fabric over her,
• 38:19
  Speaker 1: you know, nother region.
• 38:21
  Speaker 2: Okah, has she Oh? Okay, all right?
• 38:24
  Speaker 1: She claims that like the set's chaotic and that she's
• 38:26
  Speaker 1: basically just laying there naked, and that she's uncomfortable in
• 38:30
  Speaker 1: his complaint because then in her seventeen you know, she
• 38:33
  Speaker 1: lists out these seventeen protections that have to be in
• 38:36
  Speaker 1: place before she will go back and film the rest
• 38:38
  Speaker 1: of this movie. She claims that all the day players
• 38:44
  Speaker 1: must be hired through their talent agencies because the man
• 38:47
  Speaker 1: who played the obgyn in that scene was a friend
• 38:50
  Speaker 1: of Justin Baldoni's. So she makes it like he just
• 38:54
  Speaker 1: called his buddy and was like, hey, you want to
• 38:57
  Speaker 1: be the obguy N. You want to just you know,
• 39:00
  Speaker 1: I want to see Blake Lively.
• 39:01
  Speaker 2: You know it's only gonna be a little strip, and then.
• 39:05
  Speaker 1: This is a little buddy, come on in. He then,
• 39:09
  Speaker 1: in his complaint, makes it very clear that the man
• 39:13
  Speaker 1: who played the obg y N had like a master's
• 39:15
  Speaker 1: in Fine Arts from UCLA, that he was in a
• 39:17
  Speaker 1: touring group, that he.
• 39:19
  Speaker 2: Was he an actor.
• 39:20
  Speaker 1: He's a legitimate he's a legitimate actor. Also, he claims
• 39:25
  Speaker 1: that she had on a pregnancy suit, black briefs, and
• 39:30
  Speaker 1: a hospital gown. And so I feel like if they
• 39:33
  Speaker 1: release any other footage from this movie, like they did
• 39:37
  Speaker 1: with that other scene, this would be the scene that
• 39:39
  Speaker 1: just okay.
• 39:40
  Speaker 2: So we only have he said, she said, she's claiming
• 39:42
  Speaker 2: what she wore, and he's claiming that she had some
• 39:45
  Speaker 2: big pregnancy suit on with black pants or something or whatever,
• 39:49
  Speaker 2: something unattractive, right.
• 39:50
  Speaker 1: Right, So anyway, I think that's probably if they start
• 39:55
  Speaker 1: releasing scenes because.
• 39:56
  Speaker 2: He might have invited us, right, I'd been like, hey,
• 39:58
  Speaker 2: I'm gonna flick with Blake Lively if you want, like
• 40:00
  Speaker 2: a good scene. Not necessarily like creepy. No, but they
• 40:02
  Speaker 2: could have been legitimate, like, hey, you know what, it'd
• 40:04
  Speaker 2: be kind of cool. He'd being with Blake Lightly. It's
• 40:06
  Speaker 2: a pretty big movie.
• 40:06
  Speaker 1: Yeah, No, I think his I think it was his friend,
• 40:09
  Speaker 1: but I think his friend was also a legitimate actor.
• 40:11
  Speaker 2: I know. But I'm saying it's it's fair for someone
• 40:13
  Speaker 2: to be like, hey, that would be like, like, hey,
• 40:15
  Speaker 2: you want to be in a little scene with Blake Lively.
• 40:16
  Speaker 2: That'd be pretty cool. Well, it didn't have to be
• 40:18
  Speaker 2: always be creepy to invite someone. They could have been legitimate,
• 40:21
  Speaker 2: like hey, this is the opportunity, you know, if you
• 40:23
  Speaker 2: want to be on share screen with her.
• 40:25
  Speaker 1: Also, Blake Lively's sister was in the movie. Oh yeah, yeah,
• 40:30
  Speaker 1: do you remember teams in the nineties. Yeah, that's her sister.
• 40:33
  Speaker 1: It's her half sister.
• 40:34
  Speaker 2: Are we talking Sabrina?
• 40:37
  Speaker 1: Not that teen which there is a movie called teen Witch.
• 40:39
  Speaker 1: It is from the nineties. My sister and I used
• 40:41
  Speaker 1: to watch it all the time. There was a rap
• 40:42
  Speaker 1: scene in it. If you guys listen, are you listening
• 40:45
  Speaker 1: to me right now?
• 40:46
  Speaker 2: Go google the rap.
• 40:47
  Speaker 1: Scene and teen witch. It will get stuck in your head.
• 40:50
  Speaker 2: I don't know.
• 40:50
  Speaker 1: It is amazing.
• 40:51
  Speaker 2: There's no bewitch. That was the only one.
• 40:52
  Speaker 1: No, that's not what I'm talking I know, but that's
• 40:54
  Speaker 1: what I watched. All right, let's move on. I can't
• 40:56
  Speaker 1: go through the entire complaint because it is so much,
• 40:59
  Speaker 1: but I want to get to the end of this movie.
• 41:01
  Speaker 2: So well, wait, hold on, one hundred and eighty pages.
• 41:03
  Speaker 2: It's all pretty substantive, right, Like, he's back in area.
• 41:07
  Speaker 2: It's not one hundred eighty pages of fluff. No, and
• 41:10
  Speaker 2: just whining. He's got stuff to back up all his allegations. Yeah.
• 41:14
  Speaker 1: And on that note, his attorney, Brian Friedman, also made
• 41:18
  Speaker 1: an announcement that they are going to create a website
• 41:21
  Speaker 1: and they are just going to release everything. Oh yeah,
• 41:24
  Speaker 1: raw footage, transparency, messages, all of it.
• 41:27
  Speaker 2: Yeah, release the files.
• 41:30
  Speaker 1: Released the dragon.
• 41:31
  Speaker 2: Yes, it's the cracking, but.
• 41:33
  Speaker 1: Okay, oh the crack that's right, Release the krackt that's Okay,
• 41:36
  Speaker 1: that's right, all right, So she wants these seventeen protections
• 41:39
  Speaker 1: put in place. We've talked about that before in the
• 41:41
  Speaker 1: first podcast she returned. She refuses to return to work
• 41:44
  Speaker 1: unless they agree to these seventeen things. Also, I think
• 41:47
  Speaker 1: it's very important to note because this obviously is not
• 41:49
  Speaker 1: in her complaint, but those seventeen protections that she wants
• 41:53
  Speaker 1: in place. She sends them to Wayfairer and Sony. They
• 41:57
  Speaker 1: try to negotiate them. They're like, hey, you know these
• 42:01
  Speaker 1: allegations of harassment and not feeling comfortable and no intimacy
• 42:04
  Speaker 1: coordinator and nudity.
• 42:05
  Speaker 2: Almost like this appears to be in admission of guilt. We're
• 42:09
  Speaker 2: not going.
• 42:09
  Speaker 1: To We're not going to sign it as is. They try,
• 42:12
  Speaker 1: they try to alter it to make it more reflective.
• 42:15
  Speaker 2: Of maybe like going forward. Right.
• 42:18
  Speaker 1: She refuses to sign it her attorney. They have the
• 42:21
  Speaker 1: communications in here. The attorney writes back and basically says
• 42:24
  Speaker 1: these are non negotiable. She will not return and finish
• 42:27
  Speaker 1: this movie unless you sign it.
• 42:29
  Speaker 2: As she was holding the project hostage.
• 42:31
  Speaker 1: Yeah, so they what are they going to do. They've
• 42:34
  Speaker 1: got millions of dollars invested in this, They've been on
• 42:36
  Speaker 1: strike for months. These people haven't been working, right. They
• 42:39
  Speaker 1: finally get to go back to work, and they cannot
• 42:42
  Speaker 1: finish this movie unless they.
• 42:43
  Speaker 2: Sign question how much filming was done after the strikes,
• 42:47
  Speaker 2: I would say they.
• 42:47
  Speaker 1: Only got about half half of the movie done.
• 42:50
  Speaker 2: Oh so you think it was like kind of in
• 42:51
  Speaker 2: the middle.
• 42:52
  Speaker 1: I believe so.
• 42:52
  Speaker 2: Okay.
• 42:53
  Speaker 1: So one of the conditions was, and we've talked about
• 42:56
  Speaker 1: this before, was the all hands in meeting that they
• 42:59
  Speaker 1: had to have. That's what they had at Blake Lively
• 43:01
  Speaker 1: and Ryan Reynolds's apartment and she invited everybody over. And
• 43:05
  Speaker 1: the way that his complaint makes it sounds is like
• 43:07
  Speaker 1: everybody comes with their their script binders because they're all
• 43:10
  Speaker 1: excited to talk about the movie, and then you know
• 43:12
  Speaker 1: how they're going to finish the movie, and they get
• 43:14
  Speaker 1: blindsided at this meeting at her house where she has
• 43:18
  Speaker 1: another list of grievances. There's like thirty of them, and
• 43:22
  Speaker 1: she reads them aloud, and I think everyone's sitting there like.
• 43:25
  Speaker 2: She didn't get the reaction she wanted from them. Whatever
• 43:28
  Speaker 2: that was, I don't know. I thought She's like, oh, okay,
• 43:30
  Speaker 2: then I'm going to have to she.
• 43:31
  Speaker 1: Reads them aloud. Apparently Ryan Reynolds attacks Justin Baldoni and
• 43:37
  Speaker 1: he berates him. It's chaotic. I don't know. They claim
• 43:41
  Speaker 1: that a Sony representative that was there said they've never
• 43:44
  Speaker 1: seen anyone go off on somebody like that.
• 43:46
  Speaker 2: Before, and they were between Ryan and Justin.
• 43:49
  Speaker 1: Yes, and they regret not.
• 43:52
  Speaker 2: I will man put that on a website.
• 43:55
  Speaker 1: Right, So, anyway, if this continues to go further, obviously
• 44:00
  Speaker 1: we're going to get into discovery, We're going to get
• 44:02
  Speaker 1: into witnesses, We're going to get into people testifying.
• 44:06
  Speaker 2: Yeah, this is I hope it goes to trial. You
• 44:08
  Speaker 2: want it to go trast This is a want to
• 44:11
  Speaker 2: put people, you know, put her on the stand, you know. Yeah,
• 44:15
  Speaker 2: she friends with the Amber heard by any chance? Did
• 44:17
  Speaker 2: they have any relationship?
• 44:19
  Speaker 1: I don't know.
• 44:20
  Speaker 2: Seems like they would get along.
• 44:21
  Speaker 1: So this meeting takes place on January fourth. They finished
• 44:24
  Speaker 1: the movie starting January fifth, I think January fifth to
• 44:27
  Speaker 1: February something, they finished the movie. She claims in her
• 44:30
  Speaker 1: complaint that there were no further issues in any of this.
• 44:33
  Speaker 1: So then we go into editing. Right, we finished that,
• 44:35
  Speaker 1: We've got all the raw footage, we have to edit it.
• 44:38
  Speaker 1: She starts reaching out to Justin. She wants to help edit.
• 44:41
  Speaker 1: She wants two days in the editing bay again.
• 44:43
  Speaker 2: Let's again. She wasn't hired to be an editor.
• 44:46
  Speaker 1: She's not an editor. That's not within her scope of employment.
• 44:49
  Speaker 1: I think Sony is like, you know, walking on eggshells
• 44:52
  Speaker 1: around her, like, oh, let her go in. She ends
• 44:55
  Speaker 1: up taking over the editing and cutting her own version
• 44:58
  Speaker 1: of the movie. There are two versions of this movie.
• 45:00
  Speaker 2: I wanted is cash my check and gone home. I'd
• 45:02
  Speaker 2: be like, you edited, I'm done.
• 45:05
  Speaker 1: Well, I think you can tell this man is broken
• 45:07
  Speaker 1: at this point.
• 45:08
  Speaker 2: You know I'm talking no no, no, no no no. I'm
• 45:10
  Speaker 2: talking like if I was Blake Lively. Oh, I'd like
• 45:12
  Speaker 2: cash my check and I'm done.
• 45:14
  Speaker 1: Yeah, let me just I just want to read you
• 45:15
  Speaker 1: this text. This is in June, right before they like
• 45:20
  Speaker 1: the movie is going to be released in August. And
• 45:22
  Speaker 1: he texts someone. I think it's a producer somebody, and
• 45:25
  Speaker 1: he says, this is his text. She's kicked me out
• 45:28
  Speaker 1: officially from the film. Now she's finishing it all. I
• 45:31
  Speaker 1: can't be involved music, sound, VFX everything. I'll make it
• 45:36
  Speaker 1: through somehow. I just need to feel.
• 45:38
  Speaker 2: It all this is from to who.
• 45:40
  Speaker 1: I don't I think it's to an editor.
• 45:43
  Speaker 2: Okay, but is it kind of paste it in there
• 45:45
  Speaker 2: to show that, yeah, how he was feeling.
• 45:47
  Speaker 1: That's how he felt at that time. He's just basically saying,
• 45:51
  Speaker 1: I've lost this movie. Like she's completely taken over. She's
• 45:56
  Speaker 1: edited her own version. I'm not even allowed in the
• 45:59
  Speaker 1: editing bay anymore. Or she's cut her own like she's
• 46:02
  Speaker 1: cut her version and he has his version. So there's
• 46:05
  Speaker 1: two competing versions. Yeah, then I know they do the test.
• 46:10
  Speaker 1: I think we talked about this before where they do
• 46:11
  Speaker 1: the focus group and they test like which one.
• 46:13
  Speaker 2: Does better, which one did better?
• 46:14
  Speaker 1: His did better.
• 46:15
  Speaker 2: But then, of course because she.
• 46:17
  Speaker 1: Wanted her version used, where she refused to promote the
• 46:20
  Speaker 1: movie unless her version was used, there.
• 46:23
  Speaker 2: Is and there's text or something to show that.
• 46:26
  Speaker 1: Yeah, then there is.
• 46:28
  Speaker 2: Man Jesus gets worse and worse.
• 46:30
  Speaker 1: Then there's some communications between him and some editors are
• 46:35
  Speaker 1: producers where they've heard through the grapevine that Sony is
• 46:39
  Speaker 1: trying to incorporate his version back into her version.
• 46:42
  Speaker 2: Well, probably because the focus groups told them to do.
• 46:44
  Speaker 1: That, right anyway, we get to also, I have to
• 46:49
  Speaker 1: also add because I think this is important. She fires
• 46:52
  Speaker 1: editors and hires Ryan Reynolds editors, and she fires.
• 46:55
  Speaker 2: The composer who are the editor she filed fired fired.
• 46:59
  Speaker 1: I don't know. It didn't get me.
• 47:00
  Speaker 2: I mean, like it was the ones that were originally
• 47:02
  Speaker 2: hired for the movie. Yes, how can she fire them?
• 47:05
  Speaker 2: She's not even paying them.
• 47:06
  Speaker 1: I don't know. I don't know. She gets rid of
• 47:09
  Speaker 1: the composer that they've hired and she uses Ryan Reynolds composer.
• 47:12
  Speaker 1: I think the problem is Sony, who's distributing this movie,
• 47:15
  Speaker 1: is walking on eggshells with her too. Yeah, and so
• 47:18
  Speaker 1: they're just kind of like, hey, just let her do
• 47:20
  Speaker 1: whatever she wants. Let's just keep her happy. She won't
• 47:22
  Speaker 1: promote the movie unless.
• 47:23
  Speaker 2: And then you wonder, and I don't know if you
• 47:25
  Speaker 2: have the answer, is Ryan or Reynolds like affiliate with
• 47:27
  Speaker 2: Sony where maybe Sony's thinking, like we got these other
• 47:29
  Speaker 2: deals with Ryan, like we don't want to ruin this,
• 47:32
  Speaker 2: I you know what I mean, Like, I know he
• 47:34
  Speaker 2: was considered when they thought, hey, let's.
• 47:36
  Speaker 1: Just do whatever, right, So this movie is now ready
• 47:49
  Speaker 1: to premiere. In August of twenty twenty four, there is
• 47:54
  Speaker 1: a movie premiere which is you know you've been to
• 47:56
  Speaker 1: a movie premiere before.
• 47:57
  Speaker 2: I know I haven't. I have go to see him
• 48:00
  Speaker 2: on the first day.
• 48:01
  Speaker 1: They're really there's red carpet, the whole thing.
• 48:04
  Speaker 2: Wait, weren't you supposed to go to this premiere? You
• 48:07
  Speaker 2: were invited to the premiere?
• 48:08
  Speaker 1: No, I don't think I was invited to. Yes, I
• 48:13
  Speaker 1: know Colleen Hoover. I've been friendly with Colleen Hoover for
• 48:17
  Speaker 1: years and years. We were on Watch What Happens Live together.
• 48:20
  Speaker 1: I like and Brandon, the guy that plays Alice, was
• 48:23
  Speaker 1: on Watch What Happens Live. He was the bartender. I
• 48:25
  Speaker 1: had no idea any of this was going on. This
• 48:27
  Speaker 1: was a missed operation. I had no idea at.
• 48:33
  Speaker 2: All any of this tension was going on.
• 48:36
  Speaker 1: So I I just you know, I was always a
• 48:39
  Speaker 1: big fan. I'm still a big fan of Colleen Hoover.
• 48:41
  Speaker 2: I do know's nothing to do with the quality of writing.
• 48:45
  Speaker 1: She has deactivated her Instagram anymore. I don't know. I mean,
• 48:50
  Speaker 1: I would say it. It probably has to do with everything
• 48:53
  Speaker 1: that's going on with Blake Lively and Justin Baldoni. I
• 48:55
  Speaker 1: can only imagine the fans probably attacking her on her
• 48:59
  Speaker 1: Instagram because she did come out right from the get
• 49:02
  Speaker 1: go and supported Blake. Probably not the smartest thing to.
• 49:08
  Speaker 2: Do too quick, I think. But also yeah, I feel
• 49:12
  Speaker 2: for her because I bet you as an author, that's
• 49:15
  Speaker 2: that's her strength. And then she has Instagram to promote
• 49:19
  Speaker 2: her book and she probably got a lot of praise.
• 49:21
  Speaker 2: Books got a lot of praise, and she didn't sign
• 49:24
  Speaker 2: up for like people attacking her for this actor that
• 49:29
  Speaker 2: didn't like this actor, Like she's really got nothing to
• 49:31
  Speaker 2: do with that.
• 49:32
  Speaker 1: No, I think that.
• 49:33
  Speaker 2: Which is also why she should have not said anything.
• 49:36
  Speaker 2: Probably it doesn't I'm not faulting her for saying anything.
• 49:38
  Speaker 2: I'm just saying I don't think she should have right.
• 49:40
  Speaker 1: So we get to the premiere of this movie in
• 49:42
  Speaker 1: August of twenty twenty four. Initially, Blake Lively says, Justin
• 49:46
  Speaker 1: Baldoni can't be there at all, period. He's not allowed.
• 49:49
  Speaker 1: It's not allowed to go. Of course, not can't be there.
• 49:51
  Speaker 2: He's a lead star and he ran the whole movie
• 49:53
  Speaker 2: and directed it and everything. I mean, he should be there.
• 49:57
  Speaker 2: They have to ry Reynolds there.
• 49:59
  Speaker 1: I don't even if he was there, they have to
• 50:02
  Speaker 1: negotiate to allow him to be at the premiere and
• 50:08
  Speaker 1: during the negotiations it is so they put into place
• 50:12
  Speaker 1: that he is allowed to go, but he has to
• 50:14
  Speaker 1: be in a separate theater.
• 50:17
  Speaker 2: That's not going.
• 50:17
  Speaker 1: Then he's in a separate theater.
• 50:19
  Speaker 2: Do you have a different red carpet?
• 50:21
  Speaker 1: No, but he cannot be on the risk the red
• 50:22
  Speaker 1: carpet the same time as her. He has to be
• 50:25
  Speaker 1: in a different holding area like him and his friends.
• 50:27
  Speaker 1: And all the wayfair people are held in like this
• 50:30
  Speaker 1: basement area. They took photos of it. There's there's drinks,
• 50:34
  Speaker 1: like drinks all around them. It's just like a you know,
• 50:37
  Speaker 1: some basement.
• 50:38
  Speaker 2: Area where she can't be okay with all, She's got
• 50:41
  Speaker 2: to be embarrassed at all. This is surfacing, I.
• 50:43
  Speaker 1: Don't know, but we can we can throw some of
• 50:46
  Speaker 1: the images up there of him with his family and
• 50:49
  Speaker 1: his friends being held in like this basement area. Because
• 50:52
  Speaker 1: he's not allowed to be on the red carpet the
• 50:53
  Speaker 1: same time as her. He has to be he has
• 50:55
  Speaker 1: to premiere the movie for the first time. This first
• 50:58
  Speaker 1: time he gets to see.
• 50:59
  Speaker 2: It, well, see it on a big screen, right, Well, no.
• 51:01
  Speaker 1: See it. He doesn't know what the cut is. Oh,
• 51:04
  Speaker 1: this is the first time he gets to see it.
• 51:06
  Speaker 1: Oh wow, he's not allowed to go to the after party.
• 51:09
  Speaker 1: He has to finance his own after party for his
• 51:13
  Speaker 1: family and friends. He can't go to the other the
• 51:16
  Speaker 1: other party that he paid for because this is wayfairer
• 51:20
  Speaker 1: that pays for all of this stuff.
• 51:21
  Speaker 2: Dude, why didn't he just dumper at this point the
• 51:23
  Speaker 2: movie's already done?
• 51:24
  Speaker 1: Well, what do you mean dump her? How's he gonna
• 51:26
  Speaker 1: What does that mean?
• 51:27
  Speaker 2: Make her not allowed to govern? The premiere?
• 51:28
  Speaker 1: He has power?
• 51:30
  Speaker 2: Why don't know? Does he not have any power? In
• 51:33
  Speaker 2: the beginning? I understudies trying to make sure the movie
• 51:35
  Speaker 2: gets done, and she's smiling. But now it's done.
• 51:39
  Speaker 1: So because I think.
• 51:42
  Speaker 2: He's probably know why because he's probably a nice guy.
• 51:44
  Speaker 2: I think he probably is one to not have confrontation
• 51:47
  Speaker 2: and want to keep peace and just get the movie
• 51:49
  Speaker 2: out there, right, So it's a little bit showing it
• 51:51
  Speaker 2: his character.
• 51:52
  Speaker 1: Okay. Also, I just want to this is important too,
• 51:54
  Speaker 1: because I think this goes to the heart of who
• 51:56
  Speaker 1: he is. The cast ends up on following him on Instagram.
• 51:59
  Speaker 1: I think that was all basically had to be done
• 52:02
  Speaker 1: with the thing. I think that had to do with
• 52:06
  Speaker 1: Blake or Ryan or whatever, just setting up that he
• 52:08
  Speaker 1: wasn't a good guy and that they shouldn't have anything
• 52:10
  Speaker 1: to do with him. But I do want to read
• 52:12
  Speaker 1: this text that he included in his complaint. This is
• 52:14
  Speaker 1: a text from the girl named Isabella Ferrer who played
• 52:18
  Speaker 1: the young Oh yes, okay, okay, she played young Lily.
• 52:22
  Speaker 2: Okay, okay.
• 52:24
  Speaker 1: She sends this to Justin Baldoni after finished filming.
• 52:27
  Speaker 2: Okay, okay, go ahead and read it.
• 52:29
  Speaker 1: Hey just got my film developed from when we were shooting,
• 52:32
  Speaker 1: So here's the sweet pick. I also have to say
• 52:35
  Speaker 1: thank you so so much for an incredible experience on
• 52:38
  Speaker 1: my first film. I still can't shake the feeling of
• 52:40
  Speaker 1: it all because it truly was life changing for me.
• 52:43
  Speaker 1: You are such a wonderful, smart and sincere director, and
• 52:46
  Speaker 1: you created such a comfortable, safe space for me to
• 52:49
  Speaker 1: feel like I could fully step into this role. I
• 52:51
  Speaker 1: couldn't have asked for a more welcoming environment. It will
• 52:54
  Speaker 1: stay with me the rest of my life. See you soon,
• 52:57
  Speaker 1: whether in the fall or later, and I hope you're
• 52:59
  Speaker 1: doing well, and I'll do.
• 53:01
  Speaker 2: You want my thoughts on that. It certainly is not harmful,
• 53:05
  Speaker 2: but she's inexperienced as her first movie. Of course she's
• 53:08
  Speaker 2: going to kiss up to the boss and say it
• 53:09
  Speaker 2: was awesome. I know, but I'm just say she certainly
• 53:11
  Speaker 2: didn't make complaints either. It helps him, no.
• 53:14
  Speaker 1: But I'm saying this is how she legitimately felt after
• 53:16
  Speaker 1: she filmed her movie with Justin BELLDONI then she later
• 53:20
  Speaker 1: follows h I'm saying she to me she was coerced
• 53:27
  Speaker 1: because if you see her walk on the Red carpet,
• 53:29
  Speaker 1: she comes on the red carpet with Blake Lively, she
• 53:32
  Speaker 1: was styled by Blake, she wore a dress that Blake
• 53:35
  Speaker 1: told her to wear. She wore Blake's shoes. I think Blake.
• 53:38
  Speaker 2: Okay, So here we are, she's besties with Blake, are
• 53:43
  Speaker 2: wanting to be right, starstruck with her opportunity to be
• 53:47
  Speaker 2: in a movie with some A listers, right, And then
• 53:52
  Speaker 2: you'd think she would have picked up on some vibes
• 53:55
  Speaker 2: of the supposed sexual harassment or whatever or professionalism with
• 54:00
  Speaker 2: Belt with Justin. But she didn't. She didn't, So whether
• 54:06
  Speaker 2: she's kissing him or not, had she probably didn't hear
• 54:09
  Speaker 2: anything from Blake about any problems.
• 54:12
  Speaker 1: No, because I would assume that if she was aware
• 54:15
  Speaker 1: of that or she thought those things were actually going on,
• 54:17
  Speaker 1: or she thought.
• 54:18
  Speaker 2: Right she had some wind of anything that she wouldn't
• 54:21
  Speaker 2: have sent it. If she's as close to Blake as
• 54:23
  Speaker 2: she was in filming, she probably would have had wind
• 54:25
  Speaker 2: of something right.
• 54:26
  Speaker 1: So to me, that text is very telling. I thought
• 54:29
  Speaker 1: it was.
• 54:29
  Speaker 2: Did she changed her to now?
• 54:31
  Speaker 1: I don't think anyone knows what to say all these acts.
• 54:34
  Speaker 1: I think everyone came out and supported Blake in the beginning,
• 54:36
  Speaker 1: and now I think they're all radio silence.
• 54:38
  Speaker 2: Was Blake lightly really that big of a star? I
• 54:40
  Speaker 2: don't even remember what's she been in. I don't even
• 54:41
  Speaker 2: know what she's been in.
• 54:43
  Speaker 1: Yeah, I would say so she was in the Sisterhood
• 54:45
  Speaker 1: of the Traveling Pants.
• 54:48
  Speaker 2: Yeah, that's in my cue. I haven't seen it yet.
• 54:51
  Speaker 1: All right, let's go into the promotion of this movie.
• 54:54
  Speaker 1: The promotion of this movie ends up being disastrous for
• 54:57
  Speaker 1: her because she promotes the movie in a way where
• 55:01
  Speaker 1: they don't talk about the domestic violence. They promote it
• 55:04
  Speaker 1: in a way where it's a flowery, fun, grab your
• 55:07
  Speaker 1: girlfriend's in a cocktail, go see this movie. She also
• 55:10
  Speaker 1: promotes her hair care line, and she promotes her booze business,
• 55:15
  Speaker 1: so she has an alcohol brand called Betty Booze, and
• 55:18
  Speaker 1: she has a hair care line called Blake briens Don.
• 55:20
  Speaker 2: Like, if she'd go on a talk show to promote
• 55:22
  Speaker 2: the movie, she'd also bring up those things.
• 55:25
  Speaker 1: Yeah. I think her promotion just was basically around this flowery,
• 55:29
  Speaker 1: floral type of thing, very frothy, superficial. Go with your girlfriends,
• 55:36
  Speaker 1: and by the way, try my hair care line, and
• 55:38
  Speaker 1: also I have this booze company. And I think with
• 55:42
  Speaker 1: the with the premiere, there was alcohol and all these things,
• 55:45
  Speaker 1: and I think people did not like it because according
• 55:50
  Speaker 1: to the statistics, fifty five percent of domestic violence has
• 55:54
  Speaker 1: to do with alcohol. So it wasn't People were not
• 55:59
  Speaker 1: making the connection and they were not receiving it. Well,
• 56:01
  Speaker 1: they were like, wait, we thought this was about domestic violence,
• 56:03
  Speaker 1: it was about survivors.
• 56:05
  Speaker 2: It was when you went and saw the movie, was
• 56:06
  Speaker 2: it about domestic violence and survivors? Did you get that
• 56:09
  Speaker 2: message as you did in the book?
• 56:10
  Speaker 1: Yeah?
• 56:11
  Speaker 2: I did you have the same message as you did
• 56:12
  Speaker 2: in the book.
• 56:14
  Speaker 1: Yeah.
• 56:14
  Speaker 2: Okay, But she's out promoting it like it's just a
• 56:17
  Speaker 2: light popcorn movie, right, and she.
• 56:20
  Speaker 1: Got massive backlash from social media because of that.
• 56:24
  Speaker 2: So you mean that like people saw the movie or
• 56:27
  Speaker 2: knew the book, and then see the way she's painting
• 56:30
  Speaker 2: the picture of this movie. And they didn't like that
• 56:34
  Speaker 2: because right now, no one knows during the promotion of
• 56:37
  Speaker 2: this movie, no one really knows all this that we're
• 56:39
  Speaker 2: talking about, right, It hasn't really surfaced publicly yet.
• 56:41
  Speaker 1: Oh, you mean about the rift between the two. I know.
• 56:44
  Speaker 1: This is when people start speculating because people notice that
• 56:46
  Speaker 1: he's not on the red pat That's what.
• 56:47
  Speaker 2: I'm saying is they're making the independent conclusion that the
• 56:51
  Speaker 2: way you're talking about the movie and the way the
• 56:53
  Speaker 2: book reads and the movie shows is not how you're portraying. Right.
• 56:57
  Speaker 1: Oh, she also removed him from all the marketing material
• 57:00
  Speaker 1: for why wouldn't. If you look at the poster, the
• 57:02
  Speaker 1: movie poster, it's just her. He's nowhere on it. She
• 57:06
  Speaker 1: just writes them out completely. He's in a basement.
• 57:09
  Speaker 2: Well, the title now seems very fitting. It ends with us.
• 57:13
  Speaker 2: The name the titles us. It's over.
• 57:15
  Speaker 1: It is over. Yeah, So she's promoting this movie. She's
• 57:18
  Speaker 1: getting major backlash. This is where the pr people come in,
• 57:22
  Speaker 1: and this is where she accuses him of a smear campaign.
• 57:25
  Speaker 1: And you know, here's my thoughts on all these.
• 57:28
  Speaker 2: Wait, was he running around promoting the movie? Was he
• 57:30
  Speaker 2: doing talk shows and stuff like that?
• 57:31
  Speaker 1: He was promoting the movie, but he was promoting it differently.
• 57:34
  Speaker 2: But he was promoting. She allowed him to go promote
• 57:37
  Speaker 2: the movie.
• 57:38
  Speaker 1: He did his own thing. He was not allowed to
• 57:39
  Speaker 1: promote with her. He so he just pivoted and did
• 57:42
  Speaker 1: his own thing.
• 57:43
  Speaker 2: Okay, So apparently.
• 57:45
  Speaker 1: Sony, She and Sony came up with this marketing promotional
• 57:48
  Speaker 1: plan which had to do with this whole flowery type
• 57:51
  Speaker 1: of you know, grab your way.
• 57:53
  Speaker 2: Why would she do that? Why do you think she
• 57:54
  Speaker 2: would do it? Want to paint it that way? She
• 57:58
  Speaker 2: hadn't read the book and she doesn't.
• 58:00
  Speaker 1: I think it was just a big miss step.
• 58:02
  Speaker 2: I think she But why do you think was she
• 58:04
  Speaker 2: trying to change the image of the movie. Was she
• 58:07
  Speaker 2: just playing stupid and she probably just doesn't know the message?
• 58:11
  Speaker 1: Well, I think she didn't read the book. I think
• 58:13
  Speaker 1: she didn't meet with the No More group that he justin.
• 58:16
  Speaker 1: Baldoni offered for her to meet with this domestic violence organization.
• 58:20
  Speaker 1: She didn't want to meet with them. I think she
• 58:22
  Speaker 1: focused on this flowery image of it because she thought
• 58:27
  Speaker 1: that was the right thing to do.
• 58:28
  Speaker 2: I mean, okay, okay, but here's she was a little
• 58:31
  Speaker 2: far removed from from being a part of this whole
• 58:33
  Speaker 2: group and trying to make this movie and promote it,
• 58:35
  Speaker 2: and so then she deviated and did her own thing, deviated, did.
• 58:38
  Speaker 1: Her own thing, and it didn't go well. And he
• 58:41
  Speaker 1: when he did it.
• 58:42
  Speaker 2: Do you see any of the promos, because I know
• 58:44
  Speaker 2: you read the book on your own long ago, and
• 58:46
  Speaker 2: you were excited for the movie to come out, and
• 58:48
  Speaker 2: you were very supportive of calling me over having her
• 58:51
  Speaker 2: an awesome book turned into a movie, and then you
• 58:54
  Speaker 2: saw the movie, And then did you see her promos
• 58:57
  Speaker 2: or anything?
• 58:58
  Speaker 1: I did. I saw hercles, and I saw I saw
• 59:01
  Speaker 1: where people were saying, this is tone death.
• 59:04
  Speaker 2: And did you agree with it?
• 59:05
  Speaker 1: I did, okay, And I know that his way of
• 59:08
  Speaker 1: promoting the movie, because he had to promote on his own.
• 59:10
  Speaker 1: He's just off on his own doing interviews. He's not
• 59:12
  Speaker 1: with her with the project still, it's Blake and the
• 59:15
  Speaker 1: cast and it's him on his own.
• 59:17
  Speaker 2: And this guy got I know you can't a hostile
• 59:22
  Speaker 2: take away.
• 59:22
  Speaker 1: I know you can't help the fool. Sorry for this man,
• 59:25
  Speaker 1: but he's when he's talking about the movie. He's talking
• 59:28
  Speaker 1: about victims and about bringing it to light and about
• 59:30
  Speaker 1: how hopefully it helps people and people can watch the
• 59:33
  Speaker 1: movie and maybe feel empowered to leave a situation or
• 59:37
  Speaker 1: good man. Yeah, So she does not like that because
• 59:40
  Speaker 1: there are two different promotional avenues going on and people
• 59:45
  Speaker 1: are she's getting major backlash and people are thinking what
• 59:48
  Speaker 1: he's doing and saying the right thing. So I think
• 59:51
  Speaker 1: she's living.
• 59:52
  Speaker 2: Oh yeah, lived, You're right. That was the final nail
• 59:58
  Speaker 2: on the coffin where she's like, he was not supposed
• 1:00:01
  Speaker 2: to be getting any praise else. Let me tell you,
• 1:00:03
  Speaker 2: he's not even in the promo shots.
• 1:00:05
  Speaker 1: I read this in the complaint and I believe it,
• 1:00:07
  Speaker 1: even though there isn't any correspondence back this up. But
• 1:00:10
  Speaker 1: I do believe it Justin Baldoni in his complaint, and
• 1:00:13
  Speaker 1: I haven't heard anybody else talk about this. I don't
• 1:00:15
  Speaker 1: know if anybody else picked up on this, But during
• 1:00:18
  Speaker 1: that promotional tour where she was getting major backlash from
• 1:00:22
  Speaker 1: social media, she and Ryan Reynolds, through their agent, reached
• 1:00:26
  Speaker 1: out to Justin Baldoni and Wayfairer and demanded that they
• 1:00:30
  Speaker 1: write a public apology, and they drafted the public apology
• 1:00:35
  Speaker 1: and told them you have to issue this and he.
• 1:00:39
  Speaker 2: Apologized for what for the marketing? Oh, like, I'm sorry
• 1:00:43
  Speaker 2: for talking about domestic abuse and he is a popcorn movie. No.
• 1:00:46
  Speaker 1: She wanted them to take to Fall on the Sword
• 1:00:50
  Speaker 1: and say it was our error in judgment. You know,
• 1:00:54
  Speaker 1: we shouldn't have marketed the movie like this. And he refused. Yeah,
• 1:00:58
  Speaker 1: he refused, wayfairer.
• 1:01:00
  Speaker 2: He drew the line. He was like, I'm done. I'm not.
• 1:01:02
  Speaker 1: So he refuses, and apparently their their response was, now
• 1:01:09
  Speaker 1: the gloves are off. Yeah, now the gloves are off.
• 1:01:12
  Speaker 1: And then they sue him in December. So this was August.
• 1:01:16
  Speaker 1: This is the August time frame when this movie premieres.
• 1:01:18
  Speaker 2: And they're doing only a month later they see them, No.
• 1:01:21
  Speaker 1: This is August. They sue him in December.
• 1:01:23
  Speaker 2: Oh decent, I thinky, said Seppewer. So yeah, not long
• 1:01:26
  Speaker 2: four months.
• 1:01:26
  Speaker 1: No, And then this is where all the PR people
• 1:01:28
  Speaker 1: come into play. Blake Lively got a hold of those
• 1:01:31
  Speaker 1: personal text messages between Justin Baldoni and his PR people,
• 1:01:37
  Speaker 1: and give me a break. Subpoena, Shippina, there's no subpoena.
• 1:01:42
  Speaker 1: There's not a subpoena. This is PR people confiscating phones
• 1:01:48
  Speaker 1: and then giving these private text messages between Justin Baldoni
• 1:01:52
  Speaker 1: and his PR people to Blake Lively's team. Yeah, and
• 1:01:55
  Speaker 1: then they sue him saying sexual harassment and a smear campaign.
• 1:02:00
  Speaker 1: And I want to talk about the PR thing. First
• 1:02:02
  Speaker 1: of all, this is this is Hollywood, and these are
• 1:02:05
  Speaker 1: a less actors, and people hire crisis management teams, and
• 1:02:08
  Speaker 1: everybody has a publicist. You're trying to spin your client's story.
• 1:02:13
  Speaker 1: They're trying to spin their client story. They're trying to
• 1:02:15
  Speaker 1: get good, you know, good stories out there about Blake.
• 1:02:20
  Speaker 1: He's trying to get good stories out there about him.
• 1:02:22
  Speaker 1: He doesn't want this sexual harassment stuff to come up
• 1:02:25
  Speaker 1: that she's accusing him of. Of course, he hired a
• 1:02:28
  Speaker 1: crisis management team. He's been accused of things, He's been
• 1:02:31
  Speaker 1: accused of being as.
• 1:02:32
  Speaker 2: Sexual Probas didn't hire a team to bash her. He
• 1:02:35
  Speaker 2: hired a team to try to control the situation.
• 1:02:38
  Speaker 1: That's the way it was to me. There is a
• 1:02:41
  Speaker 1: text that that she uses in her complaint where his
• 1:02:44
  Speaker 1: PR girl Jen Abels, says something to the effect of
• 1:02:49
  Speaker 1: he wants us to be able to bury her something
• 1:02:51
  Speaker 1: like that. And the new and the whole New York
• 1:02:53
  Speaker 1: Times article goes with that text. But if you read
• 1:02:58
  Speaker 1: multitudes of tech that he has with his PR team,
• 1:03:02
  Speaker 1: he says repeatedly, don't do that. Is that a bad
• 1:03:06
  Speaker 1: article that we did. Don't put bad stuff out like
• 1:03:08
  Speaker 1: He makes it clearer that he doesn't want it to
• 1:03:10
  Speaker 1: be a bashing session. He's just trying to protect.
• 1:03:14
  Speaker 2: Oh, yeah, that's exactly what I said. He did.
• 1:03:16
  Speaker 1: Yeah, I know he's trying.
• 1:03:17
  Speaker 2: To put that he's a good dude.
• 1:03:18
  Speaker 1: That's the way it looks to me, is he is
• 1:03:20
  Speaker 1: trying to do nothing more than protect his own image,
• 1:03:23
  Speaker 1: his own movie, his reputation, his investment because there was
• 1:03:27
  Speaker 1: a second book, and how is the second book going
• 1:03:29
  Speaker 1: to get made? I heard and I asked people that
• 1:03:32
  Speaker 1: would know if he purchased the rights to the second book,
• 1:03:35
  Speaker 1: and they say, yeah, sure he did.
• 1:03:37
  Speaker 2: Yeah. I think that's given right.
• 1:03:39
  Speaker 1: So now, how does this man make this movie?
• 1:03:41
  Speaker 2: He may not?
• 1:03:43
  Speaker 1: How can he?
• 1:03:43
  Speaker 2: He may not. He's going to focus on his former
• 1:03:45
  Speaker 2: million dollar all the suit.
• 1:03:46
  Speaker 1: He can't make this movie. And I think that's that's
• 1:03:49
  Speaker 1: one of the reasons why you probably ask for four
• 1:03:50
  Speaker 1: hundred million, because that goes to show actual No. Yeah, damages.
• 1:03:55
  Speaker 2: Well, it sucks because although the money is good, he
• 1:03:57
  Speaker 2: really wants to make the movie.
• 1:03:58
  Speaker 1: Oh no, he wants to make the movie.
• 1:04:00
  Speaker 2: Agree, But we'd have to make ten million dollars with
• 1:04:01
  Speaker 2: the movie than one hundred million dollars in court.
• 1:04:03
  Speaker 1: I agree on.
• 1:04:04
  Speaker 2: But now with Blake Levely, screw her seriously. I wouldn't
• 1:04:08
  Speaker 2: work with her. Why would you work? Why would anyone
• 1:04:10
  Speaker 2: want to work with her? Now? She's litigious, she's dangerous.
• 1:04:14
  Speaker 1: Yeah, oh no, I don't. I don't disagree with that
• 1:04:17
  Speaker 1: at all.
• 1:04:18
  Speaker 2: We need to get Justin on here. You want to
• 1:04:20
  Speaker 2: get Justin ask him what the heck is going on?
• 1:04:23
  Speaker 2: Or we going to get Blake on here? That'd be better.
• 1:04:25
  Speaker 2: Oh yeah, yeah, I'm sure Blake and Ryan Reynolds are
• 1:04:29
  Speaker 2: a lot listeners right now going We needed to clear
• 1:04:31
  Speaker 2: those up, right.
• 1:04:32
  Speaker 1: I'm sure after Blake listens to this episode, she's gonna
• 1:04:35
  Speaker 1: definitely want to come on this podcast. Let's just go
• 1:04:45
  Speaker 1: in a little bit into some things that are in
• 1:04:47
  Speaker 1: the news. First of all, the whole Deadpool thing, where
• 1:04:50
  Speaker 1: people are picking up on the fact that one of
• 1:04:51
  Speaker 1: the characters nice Pool, is making fun of Justin Baldoni.
• 1:04:56
  Speaker 1: Ryan Reynolds plays problem Deadpool, but he also has that
• 1:04:59
  Speaker 1: alter ego character nice Pool, who there's all these you know,
• 1:05:04
  Speaker 1: similarities in his speech that have to do with Justin Baldoni,
• 1:05:06
  Speaker 1: Like he wears the man bun. He talks about how
• 1:05:08
  Speaker 1: he's a feminist, he talks about how yeah, and you
• 1:05:12
  Speaker 1: said he is, I'm sorry he is. He's a good
• 1:05:15
  Speaker 1: looking guy, manun. He pulls it off. You gotta google
• 1:05:19
  Speaker 1: some images. He pulls it off.
• 1:05:20
  Speaker 2: Well, well, it's not like I'm gonna be able to
• 1:05:22
  Speaker 2: figure out if he's good looking.
• 1:05:24
  Speaker 1: Right, all right, so for it. Baldoni's attorney sends a
• 1:05:28
  Speaker 1: you know, a preservation of evidence letter to the movie
• 1:05:32
  Speaker 1: studio to Marvel over the nice Pool character. So Baldoni's
• 1:05:37
  Speaker 1: attorney believes that Lively's husband, Ryan Reynolds was flagrantly mocking
• 1:05:40
  Speaker 1: Baldoni in a sequence in Marvel's Deadpool and Wolverine. The
• 1:05:44
  Speaker 1: sequence features Reynold's playing nice Pool, an oafish alternate version
• 1:05:49
  Speaker 1: of the hero Deadpool, saying such lines as where in
• 1:05:52
  Speaker 1: God's name is the intimacy Coordinator and complimenting Ladypool for
• 1:05:56
  Speaker 1: snapping back into shape after giving birth. When Deadpool points
• 1:06:00
  Speaker 1: sell Nice Pool's misogyny in the scene, the latter replies,
• 1:06:03
  Speaker 1: it's okay, I identify as a feminist. During the development, production,
• 1:06:07
  Speaker 1: and marketing of It Ends with Us, Baldoni often touted
• 1:06:10
  Speaker 1: his credentials as a feminist and an ally to women.
• 1:06:13
  Speaker 1: He also does a podcast that had to do with
• 1:06:15
  Speaker 1: like toxic masculinity and you know, things like that. So
• 1:06:19
  Speaker 1: the attorney sending the preservation of evidence letter, what does
• 1:06:24
  Speaker 1: that suggest to you? What is what is that for?
• 1:06:27
  Speaker 1: What is the intent?
• 1:06:28
  Speaker 2: Well, because the're afraid they're going to destroy it and
• 1:06:29
  Speaker 2: then they want to use it against him.
• 1:06:31
  Speaker 1: Right, So I think at some point there might be
• 1:06:33
  Speaker 1: some lawsuit against Marble as well. I don't know. Yeah,
• 1:06:36
  Speaker 1: but I'm sure Marvel Studios is like, are you kidding me? Like,
• 1:06:39
  Speaker 1: we don't want to be involved in this, but anyway,
• 1:06:41
  Speaker 1: So there's a preservation of evidence letter which basically says
• 1:06:44
  Speaker 1: anything has to do with the character of Nice School.
• 1:06:46
  Speaker 2: Yeah, but I don't know how involved they would be
• 1:06:48
  Speaker 2: other than just being a participant of providing evidence. Yeah,
• 1:06:52
  Speaker 2: I mean, were they going to assume Marble saying you
• 1:06:54
  Speaker 2: made fun of just involving a man? That seems like
• 1:06:57
  Speaker 2: a stretch. Right, But yeah, you're right, it doesn't look
• 1:07:00
  Speaker 2: good for well, it doesn't if I'm involved in some
• 1:07:03
  Speaker 2: personal issue with someone and then they send a letter
• 1:07:07
  Speaker 2: to my boss saying preserving evidence. Yeah, that's not a
• 1:07:10
  Speaker 2: good look for me. So that's essentially what they did.
• 1:07:14
  Speaker 1: Also, I think it's important to get into this rooftop
• 1:07:17
  Speaker 1: scene so that we can then go into this six
• 1:07:20
  Speaker 1: and a half minute voice memo from Justin Baldoni to
• 1:07:24
  Speaker 1: Blake Lively that was just released today, so we get
• 1:07:27
  Speaker 1: to discuss that.
• 1:07:28
  Speaker 2: Okay, what is the rooftop scene and.
• 1:07:29
  Speaker 1: The rooftop scene in the book, this is a pivotal
• 1:07:33
  Speaker 1: scene because this is where the main character, Lily meets
• 1:07:36
  Speaker 1: Ryle for the first time. Now, I think this is
• 1:07:39
  Speaker 1: a very important scene because we're talking about domestic violence,
• 1:07:43
  Speaker 1: and I think Colleen Hoover does an amazing job of
• 1:07:45
  Speaker 1: introducing Ryle to us as a doctor and as someone
• 1:07:50
  Speaker 1: that's very passionate. When she first meets him on this rooftop,
• 1:07:55
  Speaker 1: he had just been in a surgery and he had
• 1:07:57
  Speaker 1: lost I think a child had died, and he was
• 1:08:00
  Speaker 1: reeling and he was emotional and he was upset, and
• 1:08:03
  Speaker 1: you immediately are attracted to him as a good guy.
• 1:08:07
  Speaker 1: He also shows a little bit of a violent side
• 1:08:11
  Speaker 1: where he kicks a chair, and I think this is
• 1:08:13
  Speaker 1: all foreshadowing as to who he is as a complex
• 1:08:16
  Speaker 1: character later in the book, when we learn more about
• 1:08:19
  Speaker 1: him and his background. Anyway, I would say a lot
• 1:08:22
  Speaker 1: of people have said this is an iconic scene, a
• 1:08:24
  Speaker 1: pivotal scene.
• 1:08:25
  Speaker 2: I would agree with that as far as the storyline
• 1:08:28
  Speaker 2: exactly so.
• 1:08:30
  Speaker 1: In Baldoni's complaint, he says that Blake Lively reaches out
• 1:08:36
  Speaker 1: to him and says, hey, can I take a pass
• 1:08:38
  Speaker 1: at writing this scene? Obviously there's a script and the
• 1:08:42
  Speaker 1: scene's already been written. She wants to write the scene. Again,
• 1:08:46
  Speaker 1: Let's go back to the fact that as far as
• 1:08:48
  Speaker 1: an actress, she's her scope of her employment is actress.
• 1:08:52
  Speaker 1: And again, as far as he alleges, she hasn't read
• 1:08:56
  Speaker 1: the book. According to his complaint, there's some time type
• 1:09:00
  Speaker 1: of meeting at her New York penthouse and Taylor and
• 1:09:03
  Speaker 1: Ryan are both there, and Blake has rewritten this scene,
• 1:09:07
  Speaker 1: and according to Justin Baldoni, they're both raving. And when
• 1:09:11
  Speaker 1: I say both, I mean Ryan and Taylor are raving
• 1:09:15
  Speaker 1: about how amazing the scene is. That she has written,
• 1:09:20
  Speaker 1: so Justin Baldoni leaves, and apparently he says to her
• 1:09:24
  Speaker 1: at some point in a text or I'm not sure
• 1:09:26
  Speaker 1: what he thanks her for her passion, meaning great job
• 1:09:33
  Speaker 1: putting a lot of work into it, but I don't know,
• 1:09:37
  Speaker 1: we'll probably I think he says, I was.
• 1:09:38
  Speaker 2: Trying to recognize her going out above and beyond, so
• 1:09:44
  Speaker 2: to speak, in writing and contributing, when really he didn't
• 1:09:48
  Speaker 2: want to hear it, right.
• 1:09:49
  Speaker 1: And you know, I think he also knows he's walking
• 1:09:52
  Speaker 1: on eggshells with her, right, So he's trying to say
• 1:09:55
  Speaker 1: he's trying to give her compliments without letting her completely
• 1:09:59
  Speaker 1: take over. So I think he probably thought that was
• 1:10:01
  Speaker 1: a great way to be like, you know what, I
• 1:10:03
  Speaker 1: appreciate the passion that you put into that. And then
• 1:10:07
  Speaker 1: I think.
• 1:10:09
  Speaker 2: Choice of words, well, passion, Yeah, I mean that's neither
• 1:10:13
  Speaker 2: here nor there, right, And.
• 1:10:14
  Speaker 1: Then he says something to the effect of, you know,
• 1:10:17
  Speaker 1: most likely the scene will be what was already written,
• 1:10:21
  Speaker 1: and then some of the things, and like, I'm sure
• 1:10:23
  Speaker 1: he's trying to include some of the things.
• 1:10:25
  Speaker 2: Yeah.
• 1:10:25
  Speaker 1: Anyway, apparently, according to him, she goes silent for days.
• 1:10:28
  Speaker 1: He doesn't hear from her, then I guess he gets
• 1:10:31
  Speaker 1: a text. This is the Khalisi text, right, and I'll
• 1:10:34
  Speaker 1: read a little bit more of the text. So she says,
• 1:10:38
  Speaker 1: they asked what you thought specifically after and they means
• 1:10:41
  Speaker 1: Ryan Reynolds and Taylor Swift, who she's referring to. They
• 1:10:45
  Speaker 1: checked in so many times. I told them that you
• 1:10:47
  Speaker 1: laughed a bunch and said it's probably a blend, but
• 1:10:50
  Speaker 1: you appreciate my passion so much, which of course did
• 1:10:54
  Speaker 1: not feel great for me or them to have my
• 1:10:58
  Speaker 1: passion be praised instead of any specific contribution, or even
• 1:11:03
  Speaker 1: just that you don't like the pages, which was fine also,
• 1:11:06
  Speaker 1: So she's basically saying, hey, they keep checking in. They
• 1:11:09
  Speaker 1: want to know your thoughts. They thought it was amazing.
• 1:11:13
  Speaker 1: Why are you not thinking it's amazing too? Then there's
• 1:11:16
  Speaker 1: a lot more that has to do with how amazing
• 1:11:18
  Speaker 1: and how great her two dragons are. Then the very
• 1:11:22
  Speaker 1: end of this text is the Kalisi text, where she
• 1:11:25
  Speaker 1: basically makes reference to Game of Thrones where she's Kalisi
• 1:11:28
  Speaker 1: and they're her two dragons. And to me, I take
• 1:11:32
  Speaker 1: that as kind of a veiled threat, like, not only
• 1:11:35
  Speaker 1: am I blake Lively, but I just want to warn
• 1:11:38
  Speaker 1: you that I have two of the most powerful people
• 1:11:40
  Speaker 1: in the world as my friends, and you should probably
• 1:11:42
  Speaker 1: go along that. We all think this rooftop scene is
• 1:11:45
  Speaker 1: amazing anyway, So this voice memo comes into play because
• 1:11:50
  Speaker 1: this is what I think happened. I think he starts
• 1:11:54
  Speaker 1: thinking about how he praised her passion. But now she's
• 1:11:58
  Speaker 1: ticked off and she's sent him this time, and she
• 1:12:00
  Speaker 1: doesn't like what he said, and she doesn't want to
• 1:12:03
  Speaker 1: be praised for her passion. She wants to be praised.
• 1:12:05
  Speaker 2: For her Shane Reynolds, And it's like, what do you
• 1:12:08
  Speaker 2: think about this?
• 1:12:09
  Speaker 1: Oh, I'm sure, And so everybody's probably.
• 1:12:12
  Speaker 2: He wrote it.
• 1:12:13
  Speaker 1: He was insulted, right, So I'm sure everyone around her
• 1:12:16
  Speaker 1: is like, don't you know he doesn't know what he's
• 1:12:18
  Speaker 1: talking about and you know, praising her. So I'm sure
• 1:12:23
  Speaker 1: Justin Baldoni is laying in bed with his mind reeling,
• 1:12:26
  Speaker 1: thinking about how he messed up because he praised her
• 1:12:29
  Speaker 1: for this passion she put into rewriting and guess second
• 1:12:33
  Speaker 1: guessing everything. He's thinking, Great, now she's mad. Ryan Reynolds
• 1:12:37
  Speaker 1: is mad, Taylor Swift is mad. I'm screwed, right, So
• 1:12:42
  Speaker 1: he sends her this sixth minute, thirty second two in
• 1:12:45
  Speaker 1: the morning voice memo at two o'clock in the morning,
• 1:12:48
  Speaker 1: which Shane and I both listen to. My takeaway from
• 1:12:51
  Speaker 1: this voice memo and you can tell me yours was
• 1:12:54
  Speaker 1: this man was reeling, his mind was going crazy, and
• 1:12:57
  Speaker 1: he was trying to do everything possible to get her
• 1:13:00
  Speaker 1: back into his good graces.
• 1:13:02
  Speaker 2: I mean, how many times do you he he? I
• 1:13:05
  Speaker 2: agreed that he was, and I think his voicemail was stupid.
• 1:13:09
  Speaker 2: I know it looked he sounded weak. He sounded like, Okay,
• 1:13:13
  Speaker 2: I'm sorry, I love you, You're so great, and like
• 1:13:17
  Speaker 2: that was kind of the tone. I felt bad for him,
• 1:13:21
  Speaker 2: but I was like, dude, you're not going to win
• 1:13:23
  Speaker 2: anyone over.
• 1:13:24
  Speaker 1: Like that, so in your mind, well to me, he apologized,
• 1:13:27
  Speaker 1: I be and sweet. It should have been. First of all,
• 1:13:31
  Speaker 1: as a as a woman with three children, and Blake
• 1:13:34
  Speaker 1: Lively has four kids, I don't want a seven minute
• 1:13:36
  Speaker 1: voice memo. I'm not going to listen to it.
• 1:13:38
  Speaker 2: That was a high person. I wouldn't want a seven
• 1:13:41
  Speaker 2: minute voice memo that is entirely too long.
• 1:13:44
  Speaker 1: If you want to apologize.
• 1:13:46
  Speaker 2: It was harsh for me to finish that.
• 1:13:47
  Speaker 1: I know it was a lot. It was a lot
• 1:13:49
  Speaker 1: of repetition. It was a lot of stammering, stammering. It
• 1:13:52
  Speaker 1: was a lot of I'm sorry, I shouldn't it wasn't
• 1:13:57
  Speaker 1: he saying things like basically like you're so awesome him. Yeah,
• 1:14:01
  Speaker 1: and I'm working with Blake Lively to Ryan Ryan, say
• 1:14:05
  Speaker 1: hi to Ryan.
• 1:14:07
  Speaker 2: I can't believe I because he wasn't playing like Taylor
• 1:14:09
  Speaker 2: Swift in the background, or.
• 1:14:12
  Speaker 1: I get to I get to I get to be
• 1:14:14
  Speaker 1: with Blake Lively every day.
• 1:14:15
  Speaker 2: I mean, it was a lot.
• 1:14:16
  Speaker 1: It was too much.
• 1:14:17
  Speaker 2: Yeah, he was saying that. That was pathetic, that was serious. Okay.
• 1:14:22
  Speaker 1: But the question is, because clearly it was his side
• 1:14:26
  Speaker 1: that released his voice. It wasn't her.
• 1:14:29
  Speaker 2: He's releasing it, So.
• 1:14:31
  Speaker 1: What is his intent?
• 1:14:32
  Speaker 2: I don't know. I don't know if that did him
• 1:14:34
  Speaker 2: any favorites. I don't think it did anything bad for him.
• 1:14:36
  Speaker 2: It is to me it made him look weak. And
• 1:14:39
  Speaker 2: it may be and it's not like, oh my gosh,
• 1:14:42
  Speaker 2: he apologized, therefore she should he's a great guy. No,
• 1:14:46
  Speaker 2: I don't know. You could have been apologizing because because
• 1:14:49
  Speaker 2: I mean, I think it's I think his voicemail had
• 1:14:55
  Speaker 2: good intentions. He was trying to reel her in. He
• 1:14:59
  Speaker 2: was trying to, you know, appease her. He was trying
• 1:15:02
  Speaker 2: to make her feel better so they could get back
• 1:15:04
  Speaker 2: to filming or whatever it was. But I think it
• 1:15:07
  Speaker 2: was not It was disingenuous because he was just saying
• 1:15:11
  Speaker 2: what he thinks he needed to say.
• 1:15:14
  Speaker 1: You know what I mean, Yeah, but what he needed
• 1:15:17
  Speaker 1: to say.
• 1:15:19
  Speaker 2: It was actually his reasoning was not wrong. His reasoning
• 1:15:22
  Speaker 2: was valid, legitimate and real, right, and it had good intentions. Okay,
• 1:15:27
  Speaker 2: but it just sound as stupid.
• 1:15:29
  Speaker 1: There's also a section in this long voice memo where
• 1:15:32
  Speaker 1: he makes reference to I'm so sorry that you've gone
• 1:15:36
  Speaker 1: through this with other directors or whatever, and a lot
• 1:15:39
  Speaker 1: of people I've seen people talking about this online and
• 1:15:42
  Speaker 1: they didn't know what he was referring to, and they
• 1:15:44
  Speaker 1: didn't understand the context at this point.
• 1:15:46
  Speaker 2: I might know, but I interpreted that as he was
• 1:15:48
  Speaker 2: just like he heard stories directly from Blake. So he's like, oh, yeah,
• 1:15:51
  Speaker 2: that's terrible. I'm not like that, right. I don't know
• 1:15:54
  Speaker 2: if there was any history.
• 1:15:55
  Speaker 1: Well there is, because I look back at the complaint
• 1:15:57
  Speaker 1: because I remember reading something like that, and I did.
• 1:16:00
  Speaker 1: I did find it in the complaint and the context is,
• 1:16:04
  Speaker 1: he states, early in the pre production stage, Lively sent
• 1:16:07
  Speaker 1: Baldoni a long text describing how directors never permitted her
• 1:16:11
  Speaker 1: to write scenes for the movies that she acted in,
• 1:16:14
  Speaker 1: nor gave her writing credits, even making her hand scribble
• 1:16:18
  Speaker 1: her suggestions for lines so that they could not be
• 1:16:20
  Speaker 1: traced back to her. Lively boasted that she had even
• 1:16:24
  Speaker 1: written for her husband's movies. So I think she sent
• 1:16:28
  Speaker 1: these long texts as a manipulation tactic of like, hey,
• 1:16:33
  Speaker 1: I know what I'm doing. I've written scenes, I've rewritten things.
• 1:16:37
  Speaker 1: I've just never been given credit before, kind of a
• 1:16:40
  Speaker 1: woe is me type of feel badly for me. And
• 1:16:44
  Speaker 1: then that's what he does in that voice memo. He's like, hey,
• 1:16:46
  Speaker 1: I am so sorry that you were treated like that.
• 1:16:48
  Speaker 2: Ask them I'm not like that. And if you remember,
• 1:16:51
  Speaker 2: he's he's not like that. Now, let's go finish the
• 1:16:53
  Speaker 2: movie right now, get out of the editing.
• 1:16:59
  Speaker 1: Okay. Anyways, So that is our take on the on
• 1:17:02
  Speaker 1: the six and a half minute.
• 1:17:04
  Speaker 2: I always I recommend that anyone listening to this podcast
• 1:17:08
  Speaker 2: do not listen to the seven minutes or you will
• 1:17:10
  Speaker 2: want it back.
• 1:17:13
  Speaker 1: It's a lot, it's a lot of ramd you feel
• 1:17:16
  Speaker 1: for him too. I think the intent of them releasing
• 1:17:19
  Speaker 1: it was so that you could hear in his voice
• 1:17:22
  Speaker 1: that he is literally trying to just get along with it.
• 1:17:25
  Speaker 2: He was saying what she wanted to hear because he
• 1:17:28
  Speaker 2: just wanted to move on, and that.
• 1:17:31
  Speaker 1: He's the nice guy in this. He's telling her she's amazing.
• 1:17:35
  Speaker 1: He's saying he loves Ryan. He's bowing down.
• 1:17:38
  Speaker 2: I know that, I'm sorry. You know you want to
• 1:17:41
  Speaker 2: crap out O Ryan. And he's never going to listen
• 1:17:44
  Speaker 2: to Taylor Swifts song again. You know that, right either.
• 1:17:49
  Speaker 1: So Anyway, originally the first pre trial conference was scheduled
• 1:17:53
  Speaker 1: for February twelve. We do know now that it's been
• 1:17:56
  Speaker 1: moved up. It is actually next week, and the judge
• 1:17:59
  Speaker 1: told both lawyers on each side to be prepared to
• 1:18:02
  Speaker 1: address the complaints about all the pre trial publicity. And
• 1:18:06
  Speaker 1: we touched on this a little bit before that was
• 1:18:07
  Speaker 1: the letter that Blake Lively's team sent to the judge
• 1:18:11
  Speaker 1: directly saying, Hey, you know, Brian Friedman's playing out this
• 1:18:16
  Speaker 1: lawsuit in the public by releasing.
• 1:18:18
  Speaker 2: All this footage. Please disregard the fact that I went
• 1:18:21
  Speaker 2: to the New York Times, right, and look at this
• 1:18:25
  Speaker 2: attorney was responding to all these outlandish allegations I write against.
• 1:18:30
  Speaker 1: And I'm sure it also has to do with the
• 1:18:32
  Speaker 1: fact that he also did say, Hey, we're just gonna
• 1:18:35
  Speaker 1: We're just going to make a website and we're just
• 1:18:36
  Speaker 1: going to put everything on this website. We're going to
• 1:18:39
  Speaker 1: put the raw footage on there, all the text, messages, everything.
• 1:18:42
  Speaker 2: You should probably put it on Patreon. You can probably
• 1:18:43
  Speaker 2: make a few bucks, or put it on YouTube. It'll
• 1:18:48
  Speaker 2: be millions of viewers and then a bunch of comments.
• 1:18:51
  Speaker 1: And then so the pre trial conferences next week where
• 1:18:55
  Speaker 1: we will figure out or at least the judge will
• 1:18:57
  Speaker 1: make some type of decision on how this is going
• 1:18:59
  Speaker 1: to play out in the MEETA because both sides have
• 1:19:01
  Speaker 1: been using publicity.
• 1:19:03
  Speaker 2: Get their in California is in New York.
• 1:19:06
  Speaker 1: So the trial date is scheduled for March ninth of
• 1:19:08
  Speaker 1: twenty twenty six, which is basically.
• 1:19:11
  Speaker 2: Two seconds that is googled it. I put Ryan Reynolds's
• 1:19:14
  Speaker 2: Lively trial date March nine came up March ninth.
• 1:19:17
  Speaker 1: Six, Okay, So anyway, that's when the trial date is.
• 1:19:20
  Speaker 1: We'll see what happens until then clearly there will be
• 1:19:23
  Speaker 1: a lot more things that come out. We'll see how
• 1:19:24
  Speaker 1: this plays out in the media. We'll see what the
• 1:19:26
  Speaker 1: judge says regarding whether they're allowed to continue to release
• 1:19:30
  Speaker 1: raw footage and release all these text messages and voice
• 1:19:33
  Speaker 1: memos and all these things, and.
• 1:19:36
  Speaker 2: We will keep you informed on that, hopefully, hopefully get
• 1:19:39
  Speaker 2: settled before the next Taylor Swift tour date. So very important, yes,