Legally Brunette: Blake Lively vs. Justin Baldoni Part 2

Episode Transcript
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Speaker 1 (00:01):
Hi guys, Welcome to Legally Brunettes. I'm your host, Emily
Simpson with my co host, the most Interesting man in the.

Speaker 2 (00:08):
World, Shane Simpson.

Speaker 1 (00:10):
Okay, first of all, I think we just need to
do a little I think it's always important to go
back and do just a little summary of things that
we've already talked about. So let's just do a little update.
In the Menindez case, they were scheduled to have hearings,
but because of the fires, their resentencing hearing has been
rescheduled to March twentieth and the twenty first. I do

(00:31):
know that the DA, Nathan Hockman, has now met with
not only the side of the family. There's the one
member of the family who did not want them to
be resentence that's Milton, who is Kitty's brother, But he
has also met with the pro resentencing family, which is
like twenty four members of the family. So he has
now met with all the family and they'll be a

(00:53):
hearing March twentieth and the twenty first, which obviously we
will update at that time period. But also I just
want to say, because a lot of you as me,
what do I think the DA will do?

Speaker 2 (01:02):
Wait? Can I ask questions before you say what you
think the DA will do? Yeah, do you think the
I'm sure the fires are a valid reason and are
causing the courts to have to delay lots of things.
But do you think they jumped on that to delay
it like they had they had good read, like they
wanted to personally delay it and this gave him the excuse,
or you think it would have gone through had there
not been the fires.

Speaker 1 (01:22):
No, I think it was legitimately the fires. I heard
from that A lot of the das in that office
lost their homes, and I think it's chaotic, So you
think it's I think it was a legitimate.

Speaker 2 (01:32):
Okay, there was an ulterior type motive in doing so, No, okay,
But just.

Speaker 1 (01:37):
A reminder, it is not Pakman that makes the resentencing decision.
It is the judge. All the all Nathan Hoffman will
do is person through the case, present it. He'll have
a recommendation, but then ultimately the judge makes the decision.
So let's move on. This is our second podcast on
Blake Lively and Justin Baldoni, which is it is just

(01:59):
it is it is brewing. We did part one, so
if you haven't listened to that, yet I would suggest
you go back and listen to that and then come back.
We are now talking about Justin Baldoni filed a lawsuit
against Blake Lively, Ryan Reynolds and their publicist.

Speaker 2 (02:16):
Wait before you get into that, so where did it
leave off? It left off with what filing or where
was the status of the parties? Okay, now going into detail.

Speaker 1 (02:23):
Just so lit'sten. Just do a little background. First, Blake
Lively in December files the CRD complaint, which is with
the California Civil Rights Department. That was the administrative complaint,
which by the way, is not a public complaint. But
then but she filed that along with New York Times
writing the story. That was basically taking her complaints and

(02:46):
making that the story. And then there was also the
whole allegation of they altered some of the text messages,
they left context out, et cetera. So Justin Baldoni, in
response to that, files his libel suit again the New
York Times.

Speaker 2 (03:01):
Right, because they didn't He's claiming they didn't paint the
whole they didn't provide the whole story. Right, They picked
and choose chose what they wanted to show, which is
probably what what is the mediast and probably what sided
with Blake Lively because she was their source, right, or
maybe they were negligent in looking into it any further
and just ran with what was given to them, right.

(03:21):
And now he's saying, that's not me, that's painting me
in a bad light, exactly.

Speaker 1 (03:26):
So again, let me I'll just give you just a
little legal background on libel. When you're talking about a
new source and you're talking about a public figure, the
standard to prove defamation, which is libel, is actual malice.
And that's a very very very high standard.

Speaker 2 (03:42):
Very different means intentional. It means that bad.

Speaker 1 (03:46):
Practice that they knowingly published something that they knew to
be false. So you know, he has an uphill battle
on that. But I think it was very important that
he filed that because he really got his side of
the story out there quickly, and I think that was
a smart move on his behalf. She then files a
federal lawsuit in New York, which is basically a mirror

(04:09):
image of the complaint she filed with the Civil Rights Department.

Speaker 2 (04:13):
And just to be clear, the Civil Rights Spartman is
the equivalent of like the Better Business Bureau or something.
It's just like an agency or some type of body
that receives your complaints and just documents it.

Speaker 1 (04:24):
And I think she filed with that because I don't
think that she had the intent of ever filing an
actual lawsuit against him.

Speaker 2 (04:32):
Okay, that was her intent to collude.

Speaker 1 (04:34):
With the New York Times and to get this story
out there that he sexually harassed her and that he
planned this smear campaign against her to ruin his reputation.

Speaker 2 (04:43):
So do you think her intent was to ruin his reputation? Yes?
And why?

Speaker 1 (04:47):
Opinion?

Speaker 2 (04:47):
And why?

Speaker 1 (04:49):
Because I think when she was promoting the movie it
ends with us, she got such bad press by her
own decisions as to how to promote the movie. She
received a lot of backlash from the public, and I
think she found a way to turn it around on
him and make him the bad guy in this scenario,
and that was her intent. So then she files his

(05:11):
federal lawsuit. I think she filed it because she got
pressure from the public that they were like, hey, if
you're accusing this guy of sexually harassing you, why are
you just filing it, Why are you just filing an
administrative complaint? Why are you not actually standing up for yourself?
If you are a woman that has been sexually harassed.
So she files it in federal court. He files. Now,

(05:34):
this is where we're up to now, and this is
what we're going to try to focus on in this
this session. He files a lawsuit against her, Ryan Reynolds
and their publicist, and it's on behalf of himself, Wayfairer,
which is his studio, the producer, you know, his partner,
and his finance guy who's also a partner and part

(05:54):
of wayfair his name Sarrowitz.

Speaker 2 (05:57):
He's suing just the New York Times.

Speaker 1 (05:59):
No, we're talking to past the New York Times.

Speaker 2 (06:01):
Okay, we're moving on.

Speaker 1 (06:04):
The newest lawsuit that we're going to focus on today
right now is justin Baldoni versus versus Blake Lively, Ryan
Reynolds and their publicist. Let's just keep it like that.
We'll just be okay now.

Speaker 2 (06:17):
So that's some deep pockets New York Times in one suit,
and then Ryan Reynolds and another because we all know
Ryan Reynolds, like was affiliate with some cellular company that succeeded.
It did well and was acquired and he cashed a
lot of money. Nothing wrong with that, but he certainly
got hundreds of I understand hundreds of millions of dollars, right,
But I will.

Speaker 1 (06:37):
Tell you Justin Baldoni. One of his partners in Wayfairer
is Steve Sarrowitz, who is a multi billionaire, and he
has been drug into this lawsuit.

Speaker 2 (06:49):
How do he get dragged in?

Speaker 1 (06:50):
Because he's part of the founding fathers of Wayfairer studios,
he's like a silent finance guy behind the studio.

Speaker 2 (06:58):
Well not so silent anymore. Isn't have to speak up?

Speaker 1 (07:01):
Well, I think he's writing checks. Like I think he
came Brian Friedman a playing check and said, take these.

Speaker 2 (07:08):
People cleaners, take them out.

Speaker 1 (07:10):
Yeah, And so that's where we're at.

Speaker 2 (07:14):
Wow.

Speaker 1 (07:14):
So the complaint that Justin Baldoni filed is one hundred
and seventy nine pages. I read it twice. I think
it's important, and let's just go through I'm gonna do.
Let's just do a little summary of basically what he's alleging.

Speaker 2 (07:27):
In his I can't go over one hundred and eighty pages.
That'd be dull. We can't.

Speaker 1 (07:31):
Let's do Let's just do a little summary of it.
And then I have some things that I pulled out
that I think are important. So Baldoni, Wayfair Studios, his
publicists christ and his crisis management expert Melissa Nathan, and
other plaintiffs filed a lawsuit on Thursday, I don't remember
the date. This is like two weeks ago in New
York federal court against Lively, her husband, her publicist, and

(07:52):
the firm Vision pr. The suit basically claims that Lively,
who was publicly blasted for her tone deaf motion of
a film It Ends with Us, centered around domestic violence,
but she could not tolerate her publicly tainted image for
a moment and decided to use Baldoni as a scapegoat
by accusing him of harassment and creating a hostile work environment.

(08:15):
His latest lawsuit repeats many of the claims that he
made in his December thirty first libel action against The
New York Times. Baldoni cited Lively's constant attempts to change
things about the film, he was aggressively berated by Lively's husband,
Ryan Reynolds, and that Lively persistently tried to overset Baldoni
in the editing process. So I decided I thought it

(08:38):
was important to make an outline of I like outlines.
I like to have a timeline of things, so let's
just start with twenty nineteen. This is when Justin Baldoni
reads the book.

Speaker 2 (08:48):
It ends with us, okay, on his own head, that
book reads the book, not a script the book.

Speaker 1 (08:53):
He reads the book. I've read the book. He reads
the book, he resonates with it. He founded wayfair Stut
Videos on the premise of creating content that was meaningful
and positive, and he wanted to make an impact. Okay,
it's kind of that kind of guy.

Speaker 2 (09:10):
Okay. So he likes movies with substance.

Speaker 1 (09:12):
Movies with substance, movies with a purpose. He made a
movie prior to this called five Feet Apart or something
like that, and it had to do with a woman
dealing with cystic fibrosis. So his intent with forming Wayfarer
is to make movies that have a meaningful impact. So
he reaches out to Colleen Hoover.

Speaker 2 (09:31):
So far, so good.

Speaker 1 (09:32):
Yes, he reaches out to Colleen Hoover, who wrote the book,
and he includes all these emails between the two of them,
which I think is important.

Speaker 2 (09:39):
This is her first movie, her first novel that turned
to movie. Well.

Speaker 1 (09:42):
She says in her emails that someone else bought a
book option to make a movie, but it never happened.

Speaker 2 (09:47):
Ye, and it never happened. So this is her first
novel that turned in went onto the big screen. Right.

Speaker 1 (09:52):
And he includes all these emails between him and Colleen
Hoover in his complaints, and you can tell that they
have a very good chemistry. She likes him, she sees
movies that he's made. They have a great rapport. She
respects him. She says, I think you are the man
to make this movie.

Speaker 2 (10:08):
She says that in the email.

Speaker 1 (10:10):
Yes, and it's very important to her that this movie
is made in a way where it reflects the seriousness
of domestic violence, because that is what the movie is about.

Speaker 2 (10:21):
I would believe that it's kind.

Speaker 1 (10:24):
Of a generational because if you read the book or
you know anything about the story, the main character, Lily Bloom,
has to deal with some domestic violence when she marries Ryle,
but she also had domestic violence in her past between
her mother and father, and her mother never left. So
it delves into the center.

Speaker 2 (10:40):
And the author didn't want that to be taken away, right,
So she says.

Speaker 1 (10:45):
I think you're the man to do this. I think
you can make the movie in a way that it
should be made. And she also suggests that he play
the main character Ryle.

Speaker 2 (10:54):
So oh wait, okay, So not that this proves anything,
but it's definitely she'll chemistry and approval of him and
his interactions, right, Okay.

Speaker 1 (11:05):
So he buys the rights to this movie, or Wayfair
Studios buys it. They partner with Sony. He also partners
and I think this is important because I think this
goes to really show his intent and his character. He
also partners with No More dot Com, which is a
domestic violence group, and he wants one percent of all
the proceeds from the movie to go to No More.

Speaker 2 (11:26):
Okay, And that was on his own phrase, on his.

Speaker 1 (11:27):
Own and he negotiates that. So then in December of
twenty twenty.

Speaker 2 (11:31):
Two, So this sounds like it's he's really doing all
this so he can have a defense when files are
claimed against him. Right, this is all harassing Blake Lively
in the dance floor, That's what it sounds like. It's
very intelligent man.

Speaker 1 (11:43):
Yeah. So then in December of twenty twenty two, they
cast Blake Lively as Lily Bloom. I think it's important
to note that when she is cast in this movie.
The scope of her employment is lead actress.

Speaker 2 (11:53):
Actress, lead actress, not lead editor, not lead editor, lead
actress not director.

Speaker 1 (11:59):
Right. They also she gets I guess an executive.

Speaker 2 (12:03):
Ryan Reynolds any way, he was not. Okay, he's husband
of lead actress.

Speaker 1 (12:09):
He's a husband of good actress. That's it. And she
is given an executive producer credit, which they state that
that's common when someone's an A list actress, that that's
just a norm that comes along with it. First of all,

(12:30):
I just want to establish some things because we're going
to get into that ten minute video and let's talk
about that that was released by Baldoni's team. But let's
talk about right from the beginning of this movie, Blake
Lively exerts control over basically everything, but the first thing
is wardrobe. She completely gets rid of the wardrobe that

(12:53):
they've curated for this character, Lily Bloom, who is a
twenty three year old who just graduated from college and
she's opening up a small business, which is a Flora's shop.
How old is Blake Lively in her life? Blake Lightly
is thirty seven. She's playing a twenty three year old.

Speaker 2 (13:10):
That's insane, Okay, and the character in the movie is
still twenty three. Yes, okay, okay, Well, no, I think
or young as young in the early twenties.

Speaker 1 (13:18):
Well, I think they don't address her age in the movie,
but I do.

Speaker 2 (13:21):
I did read, and.

Speaker 1 (13:22):
I'm not sure where I read this, but that Blake
Lively wanted Colleen Hoover during this when they're interviewing about
the movies, to talk about how they aged up the character.

Speaker 2 (13:32):
But nonetheless, she now added to her role. What's it
called when you get the clothes wardrobe?

Speaker 1 (13:42):
Wardrobe?

Speaker 2 (13:43):
Thank you? Okay, So now she took on the title
of wardrobe.

Speaker 1 (13:46):
Yes, so she takes over wardrobe. She gets rid of
all that they all that they've bought for this character.
She isn't like any of it.

Speaker 2 (13:53):
Do you have email histories or texting histories of this.

Speaker 1 (13:56):
I think there's a little bit, but trust me, you
don't even need text message up because I saw the
movie and I'm sorry, but the wardrobe on Lily Bloom
was a disaster. It was chaotic. I remember sitting in
the movie theater watching it and I couldn't pay attention
to what was going on because I kept thinking, what
is she wearing?

Speaker 2 (14:16):
It was what's like the dressed like in real life.

Speaker 1 (14:20):
I don't know. I don't really pay attention to what
she dresses like. But here's the problem. I don't think
Blake Lively read the book. He alleges that in his complaint.
I don't think she understood the essence of the character,
and I think she tried to make it into something
else that did not work.

Speaker 2 (14:36):
She also not why why did she a certain style?

Speaker 1 (14:40):
I think she just wanted a certain style. I think
she She talks about how she wore some of her
husband's clothes, how she wore some of Gigi Hadid's clothes,
that she wore her own clothes that she wore. I
don't know.

Speaker 2 (14:51):
I'm to wear a deadpool outfant she wear her husband's clothes?

Speaker 1 (14:55):
No, she She wore a lot of oversized things that
just it was all right. It was beanies and car
hearts and camo jackets. And I don't know. The wardrobe
was hideous if you ask me. It was basically ignoring
the director's vision for her character and disposing of the
weeks of effort and creativity spent by the wardrobe team.

(15:17):
The costume designer had to reshop the entire wardrobe. Also,
during this time period, paparazzi took photos of her filming,
and people online were also talking about how this is chaotic.
So I want to show you some images. Also, the
other thing that really bothered me was that she carried
Valentino bags all the time. We're talking about this character

(15:38):
is a twenty three year old girl who, when I
read the book, thought she came from just a regular
middle class family who went to college, had just graduated
from college and opened up a small business, probably with
a business loan or you know. I didn't ever take
away from the book that there was money. So the
fact that she's wearing these chaotic outfits with a Valentino

(16:01):
bag really bothered me. But anyway, I'm gonna show you
some of these outfits.

Speaker 2 (16:06):
Oh yeah, that looks like, uh, what is that like?

Speaker 1 (16:11):
I don't understand what that is. Is that boxers with
it is a little confused low pants over the top
of the boxer.

Speaker 2 (16:18):
That is bad. Also, I don't even think I could
try to dress that bad.

Speaker 1 (16:21):
She's also supposed to be twenty three, and I am
not putting down Blake.

Speaker 2 (16:25):
Likely that's great, but she's not twenty three.

Speaker 1 (16:27):
Blake lightly is thirty seven, She's had four children. She's beautiful.
I'm not even though I don't particularly like her, I
would never not say that she doesn't look good. Also,
there's one other thing I have to say about this
flower shop in the movie that really bothered me. And
I haven't ever heard anyone else comment on it, But
when I envision this flower shop that Lily Bloom, she
opens up a small.

Speaker 2 (16:47):
Business as a floorist.

Speaker 1 (16:48):
Yeah, then the flower shop that they depicted in the movie, Like,
are there any live flowers in this flower shop? Or
is it all dead dry flowers? I was so confused
about the aesthetics of this flower shop.

Speaker 2 (17:02):
Well they should have had yeah that they should have
been on top of that, right.

Speaker 1 (17:06):
It had this very edgy, dark, dead flower kind of feel,
and I was so confused by it. I was like,
this woman opened a flower shop and these where are
the bright live flowers? Anyway, that bothered me. I don't
know if it bothered anyone else or if anyone else
noticed that it is, but I felt the need to

(17:26):
still talk about it because it bothered me. She also
starts rewriting scenes. There's the iconic rooftop scene where Lily
and Ryle first meet, she wants to take a stab
at rewriting the entire scene. Again. She hasn't read the book,
so I think. So Justin is like, okay, why don't you?
And there are text messages.

Speaker 2 (17:46):
I wonder if it was her.

Speaker 1 (17:49):
Reynolds, I don't know. I mean, that's a good point,
but Justin is. You can tell in his messages with
her that he's like, okay, like he he knows that
he has to give her what she wants.

Speaker 2 (18:03):
I've been in his positions.

Speaker 1 (18:06):
He's walking on eggshells. You can tell she's like, I
have to give her a little and try not to
let her just completely take over. So he's like, okay, well, why.

Speaker 2 (18:15):
He's trying to keep peace. He's trying to appease her,
probably only as far as he's okay with.

Speaker 1 (18:22):
Right, So she rewrites this rooftop scene. She gives it
back to him, and in a text message, he says
something to the effect of he thanks her for her passion,
and then says something to the effect of it most
likely will end up being a mix of what the
original script is and maybe some of your ideas. Then

(18:43):
she sends him this big, long text, and this is
where we get into I'm sure if you've seen the articles,
this is where we get into the Game of Thrones texts. Okay, Well,
she basically sends him this long text talking about it's
really making reference to Ryan Reynolds and Taylor Swift and
about how they are her. She writes this scene and

(19:05):
then she gives it to him, and she's pissed that
he said thank you for your passion, like she didn't
like that. So she writes him back this long text
about this scene, and she basically refers to herself, I'll.

Speaker 2 (19:19):
Read it being a swift you have to do with anything.

Speaker 1 (19:21):
I don't know. If you ever get around to watching
Game of Thrones, you'll appreciate that. I'm Kalisi and like her,
I happen to have a few dragons, for better or worse,
but usually the better because my dragons also protect those
that I fight for. So really, we all benefit from
these gorgeous monsters of mine. You will too, I can
promise you to me. That's a very veiled threat. That's

(19:44):
basically like, look, buddy, I had Taylor Swift and Ryan
Reynolds backing me, and they're telling me that what I
wrote was great.

Speaker 2 (19:52):
Yeah, what does that have to do with What do
they have to do with anything.

Speaker 1 (19:55):
I think she's just using I know everybody.

Speaker 2 (19:57):
Now. It demonstrates that she thinks someone as successful as
Taylor Swift and Ryan Reynolds makes like she's trying to say, like,
I got those people behind me, so you better do
as I say.

Speaker 1 (20:10):
Right.

Speaker 2 (20:10):
So, then not like they're in the industry and they
have credibility and they're saying this is good and we
should listen to their advice. It's like Taylor Swiss is
my bestie and therefore that's stupid.

Speaker 1 (20:26):
And also it's not just that scene. I think she
rewrites that scene, But then as far as as his
complaint goes, she consistently rewrites scenes, rewrites the script.

Speaker 2 (20:36):
She probably didn't know how to read the script. I
don't know what I don't like her.

Speaker 1 (20:42):
I know you're getting very frustrated over there.

Speaker 2 (20:44):
And I liked Ryan Reynolds, yeah, and now I don't
know if I like them. She when she mentions her husband,
she wouldn't have done that unless they were already having
intense conversations. No, it's not like he just says, oh, yeah,
that sounds great, whatever you want, no big deal, and
then she runs and says, I got Ryan Reynolds backing

(21:04):
me up. Yeah, they probably had heavy discussions. He might
even said he might help, you know, he probably helped
her write that.

Speaker 1 (21:10):
Oh well, then that's very interesting because then during the
premiere of the movie, they asked her about the rooftop scene,
and she goes, oh, I'll let you in on a
little secret. I've never told anyone this before, but Ryan
actually wrote that song.

Speaker 2 (21:22):
Oh yes.

Speaker 1 (21:24):
So then in the complaint, she's trying to give him credit.
You know, I don't know. I don't know if it
was Ryan, I don't know if it was her. I
don't know if it was both of them. I don't
know how much was.

Speaker 2 (21:33):
Actually said it was him, But I mean she was
trying what a so then and we canceled them already.

Speaker 1 (21:40):
So then then the complaint, justin Baldoni, includes letters going
back and forth between Sony and Wayfair and people are like, hey,
did he write the scene? Because do we need to
give him writing credit? And everyone's confused, right, and they
don't know what's going on. So I to me, I

(22:02):
feel nothing but sorry for this guy.

Speaker 2 (22:03):
After that shows when Blake Lely doesn't know her scope
of work what she was hired for and to respect
other people's positions, and she just takes over. And then
what you said where she says, Oh, I'm going to
let you know a little secret run on Reynolds wrote it.
Then she's stupid for not knowing how the industry works,
where you can't. I mean, there's credits on those movies

(22:25):
for a reason, and they follow whatever the guidelines are
with the unions and whatever it is to make sure
people get the credit they deserve. And here she has
this thrown out credit Willie Nilly in a big pr
you know interview, right.

Speaker 1 (22:40):
So then behind the scenes there's all these you know,
communications going back and forth of like do we have
to give him a writing credit? Did he really write it?
What's going on? We don't understand.

Speaker 2 (22:49):
So I don't know why you like her. I always
did up until recently.

Speaker 1 (22:56):
I actually went into studying this case very impartially.

Speaker 2 (23:01):
I used to like Ryan Reynolds only from two Me
and a Girl in a Pizza Place that was his
TV show he had a long time ago, and then
he never did a good movie since No, you don't
think no, but he has a great agent because he
did a lot of flops. So that's that agent is
earning his money. And no, I definitely don't like Ryan

(23:22):
and I fell asleep during the first Deadpool, yeah, and
I never saw the others.

Speaker 1 (23:27):
Right, well, we have to get to dead Sell because
you ought that has to do with that. All right,
let's move on to the scene that is. It's the
ten minute scene that's all over Brian Friedman.

Speaker 2 (23:37):
This is that dancing scene.

Speaker 1 (23:38):
That's the dancing I didn't watch it yet, Well you
were supposed to, but.

Speaker 2 (23:41):
Well I read about it.

Speaker 1 (23:44):
So Brian Friedman releases it and it's ten minutes long.
I watched some of it, not the whole thing.

Speaker 2 (23:51):
Okay, hold on. What I do know is from what
I read, she didn't think there was audio. Yeah, and
so if if from her point of view she did
not believe there was audio, it was only video because
it's just used as them, whether it's like background music
or whatever. Right, it's just like silent scenes of them
being intimate or whatever. Right, So she didn't think there
was audio, and so she used that scene to be

(24:16):
able to create her own narrative. Yeah, I agree, And
we learned from earlier in the succession of Baldini, smart
enough to protect himself from being you know that he
probably had a mic on him for a reason.

Speaker 1 (24:27):
Probably so. The video of the end it ends with
a set footage. It was provided by Baldoni's team, and
it shows footage of Lively filming a scene with Baldoni
in which their character slow dance for a slow motion
montage intended to have no dialogue. The co stars speak
to each other out of character while filming. You know.

(24:48):
She jokes about his nose. She says he should take
I don't know what, an insurance month. But she tells
him he should get a nose job and take an
insurance month. I'm sure that's movie lingo. She talks about,
don't knows with She talks about Ryan and how they
look into each other's eyes or something, and he says.

Speaker 2 (25:05):
Oh, she's comfortable talking.

Speaker 1 (25:07):
And talking out of character. She accuses him of not
being in character during this scene, and that's supposedly what
makes her uncomfortable is he's not Rile, He's being himself.
So that's why you.

Speaker 2 (25:19):
Say character is to make fun of his nose.

Speaker 1 (25:21):
Right, So she's uncomfortable, but she's also out of character too.
She's talking about you know.

Speaker 2 (25:27):
Now I'm going to compare Baldini's nose to Ryan's nose.
It's what's his name? I want to compare their noses.
See what's her deal?

Speaker 1 (25:37):
Anyway, they released the footage as far as I'm concerned, Look,
let's be honest. Here an intimate romantic scene between two
actors that are married to other people and have children
with other people. I'm sorry that professional for decades, right,
but I don't care. It's inherently uncomfortable. Regardless you have

(26:00):
to make out with someone. These two people are in love.

Speaker 2 (26:03):
Well, a professional, it would not be inherently awkward because
they would get into character and they would do it.
And maybe everyone has different levels of awkwardness or uncomfortableness
or whatever, but you're a professional, and that's what the
job calls for.

Speaker 1 (26:18):
Right. Well, she is claiming that she was uncomfortable, that
there's no intimacy coordinator on SEIDS, and you know, his
complaint alleges that she never signed her nudity writer and
that she never met with them.

Speaker 2 (26:33):
Tell me what a nudy writer is, because you've been
talking about that all week and I have no idea
what a nudy.

Speaker 1 (26:37):
Because I need my own nudity writer is tell me
what it is and I'll let you know. So, when
there is an actress or an actor in a movie
and they have to do simulated sex scenes, they have
a separate contract that's called a nudity writer.

Speaker 2 (26:51):
Is that like their boundaries or something?

Speaker 1 (26:53):
I believe. So, I've never read one, but I looked
it up and basically, an intimacy coordinator looks at the
nudity writer. It's a contract and they say, Okay, it
looks good. This is what you're comfortable with with you
or not. Maybe this is when you use a stunt double.

Speaker 2 (27:05):
This is oh, but then what was the intimacy coordinator?

Speaker 1 (27:09):
The intimacy coordinator is a person that's supposedly on set
that actually works out the sex scenes and the romantic scenes. Okay,
there is an intimacy coordinator that they hired for this movie,
and she she claims that she's uncomfortable, but she could
have met with an intimacy.

Speaker 2 (27:28):
But I'm surprised they were able to move forward without
her agreeing or meeting with this intimacy coordinator.

Speaker 1 (27:33):
Well, there's a text message where he says, do you
want to meet with her? And she's no, it's like, no,
I'm good.

Speaker 2 (27:37):
I remember you tell me that, But I can't imagine
why they move forward. They should have been like, well, no,
then you sign here to wave it. Like when someone
gets injured at work and they fall and they get
hurt and they're like, no, I don't want medical attention.
It's like, okay, then sign here saying you wave medical
attention so you can't later say you didn't get it.

(27:58):
So that's where he messed up. No I don't and
I'm not saying he did anything bad or wrong, but
he messed up by saying, okay, then you sign here
saying that you wave an intimacy coordinator.

Speaker 1 (28:09):
Well, I don't think she's necessarily waving it. She's just
saying waving the meeting waving it. Yeah, so I so okay. Well,
he goes to these meetings with the intimacy coordinator, he
takes handwritten notes, and then he has to go back
and share these handwritten notes with her. Apparently this scene,
the scene, this montage, this romantic scene where they're kissing.

(28:29):
Apparently she knew about the scene and she rewrote the scene.
That's what he alleges. So the fact that she feels
uncomfortable To me, looks like a retroactive way to go
back and look for something that at the time was
probably innocuous or benign or not really that big of
a deal. But it's a way for her to latch
onto something and say, hey, I felt uncomfortable there. M hm.

Speaker 2 (28:52):
So didn't they have Did they have any intimate scenes
in the movie?

Speaker 1 (28:56):
Yeah, there's a lot.

Speaker 2 (28:56):
So why didn't she use those scenes because those scenes
character I felt something down there.

Speaker 1 (29:02):
No, I'll tell you why. Because those scenes were filmed
after the break, after they went on strike, production shut down.

Speaker 2 (29:11):
Okay, but how does that break change things? So is
that she can't bring up those scenes.

Speaker 1 (29:15):
Because those weren't filmed. This movie is divided into two parts.
They filmed half of the movie, then there were the strikes.
The strikes they did not film between June twenty seventh
and November ninth. During that time period, she was asking
for the raw footage, which is called dailies. I had
to look this up. Dailies is just the raw footage
from the day. It's not edited.

Speaker 2 (29:35):
It's just the raw foot which is timestamp for that day. R.

Speaker 1 (29:38):
Yeah, something happened between June twenty seventh and November ninth,
when she when they go the strike ends, they can
go back to work, and she sends a letter via
her attorneys saying she refuses a film unless they sign
this seventeen conditions that they all have to agree to
for her to return to work. It's these protections that
she needs in place. This is what I think happened.

(29:59):
I think she was asking for the raw footage because
she wants to take over. She wants to edit it.
He's giving her a little because he's walking on eggshells
all the time around her. He has to keep her happy.
He has to give her what she wants because in
this she gets the raw footage. I think Ryan Reynolds
sees the raw footage. I think Justin Baldoni is a

(30:21):
very handsome man, is he? I think I think he's
very good looking. And they have these intimate scenes together.
They have to kiss, they have to be close. I
think Ryan Reynolds got jealous and I think something happened
during that time period where he was not happy about

(30:42):
this close working relationship between the two of them, and
he wanted to exert his power in his ego. He
wanted to put this guy in his place, like, this
is my wife. And she has a history of having
relationships with her co stars. When she was on Gossip Girl,
she had a relationship with one of the other actors.

(31:03):
Wasn't he was married to Scarlet Johansson on Green Lantern?
And then Wasn't She on Was she in the movie too?
And then he ended up being with her. Anyway, she
has a history of dating her co stars or having relationships.

Speaker 2 (31:14):
With her car and Ryan probably knows.

Speaker 1 (31:17):
This, and he knows this. I think he became extremely jealous.
I think he did not want Justin Baldoni to have
all the control and power that he had. He owns
the movie, his studio is the one producing it, he's
the director. He has these scenes with her. He's a
good looking guy. I think he probably.

Speaker 2 (31:36):
Said his nose.

Speaker 1 (31:39):
I mean, the nose doesn't bother me at all. I'm
fine with the note. But I don't know. Maybe he
saw the scene where he takes his shirt off, because.

Speaker 2 (31:47):
Those dailies, so we don't know what they saw because
it didn't Maybe there was some right.

Speaker 1 (31:52):
There's also a lot of flirtatious texts between them, and
I don't mean flirtatious in the way where I think
there were lines crossed. I just mean there was a
good working relationship between the two of them in the beginning.

Speaker 2 (32:04):
They were comfortable before the strikes, right, Like, what would
be an example, even if you're just paraphrase, just she.

Speaker 1 (32:10):
Sends him lots of text praising him and how they're
working together and they're collaborating, and she's so excited to
be on this journey with him and they're going to
make this great.

Speaker 2 (32:18):
Movie, basically saying I'm not uncomfortable with you, right, Okay,
who's better looking Ryan or what was his name? Justin?

Speaker 1 (32:26):
Oh?

Speaker 2 (32:26):
Justin?

Speaker 1 (32:27):
Oh? Yeah, oh yeah, like hands down.

Speaker 2 (32:30):
But Ryan's considered good looking.

Speaker 1 (32:33):
Yeah, I mean he's not a bad looking guy. I
think he's good looking. But I think Justin Baldoni's beautiful, Like,
he's a beautiful man. You ask.

Speaker 2 (32:42):
So, I don't know. I heard his nose is pretty big,
so he might want to reconcined.

Speaker 1 (32:48):
I don't know. That doesn't bother me. I told you,
let's talk about Maybe there is the possibility that Ryan
Reynolds read some of the text messages between Justin and Blake.

Speaker 2 (33:08):
Yeah.

Speaker 1 (33:08):
Sure, because some of the text messages that he includes
in his complaints are flirty, and we talked about this
a little bit before. Yeah, they're definitely not just work related.
They get into you know, there's there's a text exchange
where he says something to the effect of like, oh,
I like nice Blake or I like vulnerable Blake. I
don't remember what it was, and she said, oh, you

(33:28):
mean instead of asshole Blake and he's like, yeah, I
don't know. They just they're being friendly, maybe too friendly.
But I think, to me, I think he's just going
with whatever direction she goes in, so that he's just
kind of on the same page with her. But let's
say maybe Ryan Reynolds got a hold of her phone
saw these text messages between the two of them also.

Speaker 2 (33:50):
Which added to the concern that he had right her
and being close to the co star.

Speaker 1 (33:55):
Right, So maybe if we look at it as he's
he's seen this raw footage of the two of them together,
the chemistry between them is palpable.

Speaker 2 (34:03):
Knows who knows what Blake old Ryan to explain. He says,
what are these text messages? And then she has to say, oh,
he smelled me when we were dancing it, right, So
I think that it might just be a conglomeration of
he's a good looking guy, this is his movie.

Speaker 1 (34:25):
He's the director, he's the producer. They have an intimate
working relationship. I think they get friendly in the beginning,
and they have a lot of friendly banter. I think
they also spend a lot of time together because she
wants to rewrite all these scenes and rework things, and
he says in his complaint that they spend long hours
together into the night, laughing and rewriting scenes together. I

(34:46):
think maybe not only was Ryan jealous of maybe what
he saw in these dailies when she starts asking for
this raw footage, but also the text messages the rapport
between them, because to me, it seems like there was
such a shift from the first half of the movie
being filmed yeah, to the second half that maybe Ryan
Reynolds came in put his foot down and said, we're

(35:08):
going to squash this guy. He's not going to talk
to my wife like that. He's not going to get
close to my wife like that.

Speaker 2 (35:13):
I'm a Deadpool. I am dead Pool. This is not
a robber. So wow.

Speaker 1 (35:19):
Anyway, here's my final thought on the ten minute scene
that was released.

Speaker 2 (35:25):
Oh wait, that ten minutes unedited yes, it's just raw footage,
ten minutes of them dancing right and talking. Well, they're
just capturing footage, right, Okay, go ahead.

Speaker 1 (35:35):
And then she says in her complaint that he, you know,
kissed her down her neck and said it smells so good,
which sounds so creepy, but I tell you smell good
all the time. Yeah, okay, it sounds a little creepy.
But when you watch the actual footage, she she says,
I'm sorry about my spray tond and you know, my
body makeup or whatever, and he goes, no, it smells good.

(35:57):
That's completely different.

Speaker 2 (35:58):
Well, that was very nice of him, because I know,
first hands very handsy, not small.

Speaker 1 (36:02):
They don't. I was being very he was being kind.
I think he was being kind trying to make her
feel comfortable. Anyway, my takeaway is that you're talking about
a woman who has exerted control from day one over
this movie. She didn't want to meet with an intimacy coordinator.
She takes over the wardrobe, she rewrites scenes, she rewrites
the script, she asks for the dailies, she wants to
edit the movie herself. And you're gonna tell me that

(36:25):
she felt uncomfortable. Yeah, if if she was legitimately uncomfortable
and felt like it was to the level of a
sexual harassment allegation, you're gonna tell me that she wouldn't
walk away, that she wouldn't demand the intimacy coordinator.

Speaker 2 (36:41):
Now know that Ryan Reynolds was involved, not saying it
was inappropriate, but he's in faulved of the script. You know,
he rewrote some scenes and all this stuff, and then
plus us thinking that he was jealous, right, and then
he's gonna let her get I'm sorry, if you came
home and we're telling me about someone at work that

(37:02):
was inappropriate to you or make you feel uncomfortable, I
wouldn't be like, oh well, let's just rewrite the scene.
Oh well, let's just not let him come to the premiere,
Oh well, let's just write this little thing with the
civil Board whatever. I would be like, no, let that's
either quit, like get away, or we need to do
something about this. So you're so liared.

Speaker 1 (37:22):
So you're saying that all of these allegations would have
been addressed in the moment at that time, not later
in a lawsuit.

Speaker 2 (37:28):
And I can appreciate that some people and maybe women
in this case might not until later, and there's many
reasons why people might hold off making a formal complaint.
I get that, But she had Ryan Reynolds backing her up,
and he is not uncomfortable in the workplace. He's very familiar,
they have resources, they have decades of experience to know

(37:50):
what's appropriate, inappropriate, they would have done something right then
and there.

Speaker 1 (37:53):
I don't disagree with that, all right. I just want
to take one other thing from his complaint because I
have a feeling that if they end up releasing any
more raw footage, it will be this scene. That's just
me speculating, Okay, what is it? She also talks about
in her original complaint that she was very uncomfortable during
the birthing scene. There's a scene where she gives birth,
and she talks about how she only had like a

(38:15):
small strip of just like barely any fabric over her,
you know, nother region.

Speaker 2 (38:21):
Okah, has she Oh? Okay, all right?

Speaker 1 (38:24):
She claims that like the set's chaotic and that she's
basically just laying there naked, and that she's uncomfortable in
his complaint because then in her seventeen you know, she
lists out these seventeen protections that have to be in
place before she will go back and film the rest
of this movie. She claims that all the day players
must be hired through their talent agencies because the man

(38:47):
who played the obgyn in that scene was a friend
of Justin Baldoni's. So she makes it like he just
called his buddy and was like, hey, you want to
be the obguy N. You want to just you know,
I want to see Blake Lively.

Speaker 2 (39:01):
You know it's only gonna be a little strip, and then.

Speaker 1 (39:05):
This is a little buddy, come on in. He then,
in his complaint, makes it very clear that the man
who played the obg y N had like a master's
in Fine Arts from UCLA, that he was in a
touring group, that he.

Speaker 2 (39:19):
Was he an actor.

Speaker 1 (39:20):
He's a legitimate he's a legitimate actor. Also, he claims
that she had on a pregnancy suit, black briefs, and
a hospital gown. And so I feel like if they
release any other footage from this movie, like they did
with that other scene, this would be the scene that
just okay.

Speaker 2 (39:40):
So we only have he said, she said, she's claiming
what she wore, and he's claiming that she had some
big pregnancy suit on with black pants or something or whatever,
something unattractive, right.

Speaker 1 (39:50):
Right, So anyway, I think that's probably if they start
releasing scenes because.

Speaker 2 (39:56):
He might have invited us, right, I'd been like, hey,
I'm gonna flick with Blake Lively if you want, like
a good scene. Not necessarily like creepy. No, but they
could have been legitimate, like, hey, you know what, it'd
be kind of cool. He'd being with Blake Lightly. It's
a pretty big movie.

Speaker 1 (40:06):
Yeah, No, I think his I think it was his friend,
but I think his friend was also a legitimate actor.

Speaker 2 (40:11):
I know. But I'm saying it's it's fair for someone
to be like, hey, that would be like, like, hey,
you want to be in a little scene with Blake Lively.
That'd be pretty cool. Well, it didn't have to be
always be creepy to invite someone. They could have been legitimate,
like hey, this is the opportunity, you know, if you
want to be on share screen with her.

Speaker 1 (40:25):
Also, Blake Lively's sister was in the movie. Oh yeah, yeah,
do you remember teams in the nineties. Yeah, that's her sister.
It's her half sister.

Speaker 2 (40:34):
Are we talking Sabrina?

Speaker 1 (40:37):
Not that teen which there is a movie called teen Witch.
It is from the nineties. My sister and I used
to watch it all the time. There was a rap
scene in it. If you guys listen, are you listening
to me right now?

Speaker 2 (40:46):
Go google the rap.

Speaker 1 (40:47):
Scene and teen witch. It will get stuck in your head.

Speaker 2 (40:50):
I don't know.

Speaker 1 (40:50):
It is amazing.

Speaker 2 (40:51):
There's no bewitch. That was the only one.

Speaker 1 (40:52):
No, that's not what I'm talking I know, but that's
what I watched. All right, let's move on. I can't
go through the entire complaint because it is so much,
but I want to get to the end of this movie.

Speaker 2 (41:01):
So well, wait, hold on, one hundred and eighty pages.
It's all pretty substantive, right, Like, he's back in area.
It's not one hundred eighty pages of fluff. No, and
just whining. He's got stuff to back up all his allegations. Yeah.

Speaker 1 (41:14):
And on that note, his attorney, Brian Friedman, also made
an announcement that they are going to create a website
and they are just going to release everything. Oh yeah,
raw footage, transparency, messages, all of it.

Speaker 2 (41:27):
Yeah, release the files.

Speaker 1 (41:30):
Released the dragon.

Speaker 2 (41:31):
Yes, it's the cracking, but.

Speaker 1 (41:33):
Okay, oh the crack that's right, Release the krackt that's Okay,
that's right, all right, So she wants these seventeen protections
put in place. We've talked about that before in the
first podcast she returned. She refuses to return to work
unless they agree to these seventeen things. Also, I think
it's very important to note because this obviously is not
in her complaint, but those seventeen protections that she wants

(41:53):
in place. She sends them to Wayfairer and Sony. They
try to negotiate them. They're like, hey, you know these
allegations of harassment and not feeling comfortable and no intimacy
coordinator and nudity.

Speaker 2 (42:05):
Almost like this appears to be in admission of guilt. We're
not going.

Speaker 1 (42:09):
To We're not going to sign it as is. They try,
they try to alter it to make it more reflective.

Speaker 2 (42:15):
Of maybe like going forward. Right.

Speaker 1 (42:18):
She refuses to sign it her attorney. They have the
communications in here. The attorney writes back and basically says
these are non negotiable. She will not return and finish
this movie unless you sign it.

Speaker 2 (42:29):
As she was holding the project hostage.

Speaker 1 (42:31):
Yeah, so they what are they going to do. They've
got millions of dollars invested in this, They've been on
strike for months. These people haven't been working, right. They
finally get to go back to work, and they cannot
finish this movie unless they.

Speaker 2 (42:43):
Sign question how much filming was done after the strikes,
I would say they.

Speaker 1 (42:47):
Only got about half half of the movie done.

Speaker 2 (42:50):
Oh so you think it was like kind of in
the middle.

Speaker 1 (42:52):
I believe so.

Speaker 2 (42:52):
Okay.

Speaker 1 (42:53):
So one of the conditions was, and we've talked about
this before, was the all hands in meeting that they
had to have. That's what they had at Blake Lively
and Ryan Reynolds's apartment and she invited everybody over. And
the way that his complaint makes it sounds is like
everybody comes with their their script binders because they're all
excited to talk about the movie, and then you know
how they're going to finish the movie, and they get

(43:14):
blindsided at this meeting at her house where she has
another list of grievances. There's like thirty of them, and
she reads them aloud, and I think everyone's sitting there like.

Speaker 2 (43:25):
She didn't get the reaction she wanted from them. Whatever
that was, I don't know. I thought She's like, oh, okay,
then I'm going to have to she.

Speaker 1 (43:31):
Reads them aloud. Apparently Ryan Reynolds attacks Justin Baldoni and
he berates him. It's chaotic. I don't know. They claim
that a Sony representative that was there said they've never
seen anyone go off on somebody like that.

Speaker 2 (43:46):
Before, and they were between Ryan and Justin.

Speaker 1 (43:49):
Yes, and they regret not.

Speaker 2 (43:52):
I will man put that on a website.

Speaker 1 (43:55):
Right, So, anyway, if this continues to go further, obviously
we're going to get into discovery, We're going to get
into witnesses, We're going to get into people testifying.

Speaker 2 (44:06):
Yeah, this is I hope it goes to trial. You
want it to go trast This is a want to
put people, you know, put her on the stand, you know. Yeah,
she friends with the Amber heard by any chance? Did
they have any relationship?

Speaker 1 (44:19):
I don't know.

Speaker 2 (44:20):
Seems like they would get along.

Speaker 1 (44:21):
So this meeting takes place on January fourth. They finished
the movie starting January fifth, I think January fifth to
February something, they finished the movie. She claims in her
complaint that there were no further issues in any of this.
So then we go into editing. Right, we finished that,
We've got all the raw footage, we have to edit it.
She starts reaching out to Justin. She wants to help edit.
She wants two days in the editing bay again.

Speaker 2 (44:43):
Let's again. She wasn't hired to be an editor.

Speaker 1 (44:46):
She's not an editor. That's not within her scope of employment.
I think Sony is like, you know, walking on eggshells
around her, like, oh, let her go in. She ends
up taking over the editing and cutting her own version
of the movie. There are two versions of this movie.

Speaker 2 (45:00):
I wanted is cash my check and gone home. I'd
be like, you edited, I'm done.

Speaker 1 (45:05):
Well, I think you can tell this man is broken
at this point.

Speaker 2 (45:08):
You know I'm talking no no, no, no no no. I'm
talking like if I was Blake Lively. Oh, I'd like
cash my check and I'm done.

Speaker 1 (45:14):
Yeah, let me just I just want to read you
this text. This is in June, right before they like
the movie is going to be released in August. And
he texts someone. I think it's a producer somebody, and
he says, this is his text. She's kicked me out
officially from the film. Now she's finishing it all. I
can't be involved music, sound, VFX everything. I'll make it

(45:36):
through somehow. I just need to feel.

Speaker 2 (45:38):
It all this is from to who.

Speaker 1 (45:40):
I don't I think it's to an editor.

Speaker 2 (45:43):
Okay, but is it kind of paste it in there
to show that, yeah, how he was feeling.

Speaker 1 (45:47):
That's how he felt at that time. He's just basically saying,
I've lost this movie. Like she's completely taken over. She's
edited her own version. I'm not even allowed in the
editing bay anymore. Or she's cut her own like she's
cut her version and he has his version. So there's
two competing versions. Yeah, then I know they do the test.

(46:10):
I think we talked about this before where they do
the focus group and they test like which one.

Speaker 2 (46:13):
Does better, which one did better?

Speaker 1 (46:14):
His did better.

Speaker 2 (46:15):
But then, of course because she.

Speaker 1 (46:17):
Wanted her version used, where she refused to promote the
movie unless her version was used, there.

Speaker 2 (46:23):
Is and there's text or something to show that.

Speaker 1 (46:26):
Yeah, then there is.

Speaker 2 (46:28):
Man Jesus gets worse and worse.

Speaker 1 (46:30):
Then there's some communications between him and some editors are
producers where they've heard through the grapevine that Sony is
trying to incorporate his version back into her version.

Speaker 2 (46:42):
Well, probably because the focus groups told them to do.

Speaker 1 (46:44):
That, right anyway, we get to also, I have to
also add because I think this is important. She fires
editors and hires Ryan Reynolds editors, and she fires.

Speaker 2 (46:55):
The composer who are the editor she filed fired fired.

Speaker 1 (46:59):
I don't know. It didn't get me.

Speaker 2 (47:00):
I mean, like it was the ones that were originally
hired for the movie. Yes, how can she fire them?
She's not even paying them.

Speaker 1 (47:06):
I don't know. I don't know. She gets rid of
the composer that they've hired and she uses Ryan Reynolds composer.
I think the problem is Sony, who's distributing this movie,
is walking on eggshells with her too. Yeah, and so
they're just kind of like, hey, just let her do
whatever she wants. Let's just keep her happy. She won't
promote the movie unless.

Speaker 2 (47:23):
And then you wonder, and I don't know if you
have the answer, is Ryan or Reynolds like affiliate with
Sony where maybe Sony's thinking, like we got these other
deals with Ryan, like we don't want to ruin this,
I you know what I mean, Like, I know he
was considered when they thought, hey, let's.

Speaker 1 (47:36):
Just do whatever, right, So this movie is now ready
to premiere. In August of twenty twenty four, there is
a movie premiere which is you know you've been to
a movie premiere before.

Speaker 2 (47:57):
I know I haven't. I have go to see him
on the first day.

Speaker 1 (48:01):
They're really there's red carpet, the whole thing.

Speaker 2 (48:04):
Wait, weren't you supposed to go to this premiere? You
were invited to the premiere?

Speaker 1 (48:08):
No, I don't think I was invited to. Yes, I
know Colleen Hoover. I've been friendly with Colleen Hoover for
years and years. We were on Watch What Happens Live together.
I like and Brandon, the guy that plays Alice, was
on Watch What Happens Live. He was the bartender. I
had no idea any of this was going on. This
was a missed operation. I had no idea at.

Speaker 2 (48:33):
All any of this tension was going on.

Speaker 1 (48:36):
So I I just you know, I was always a
big fan. I'm still a big fan of Colleen Hoover.

Speaker 2 (48:41):
I do know's nothing to do with the quality of writing.

Speaker 1 (48:45):
She has deactivated her Instagram anymore. I don't know. I mean,
I would say it. It probably has to do with everything
that's going on with Blake Lively and Justin Baldoni. I
can only imagine the fans probably attacking her on her
Instagram because she did come out right from the get
go and supported Blake. Probably not the smartest thing to.

Speaker 2 (49:08):
Do too quick, I think. But also yeah, I feel
for her because I bet you as an author, that's
that's her strength. And then she has Instagram to promote
her book and she probably got a lot of praise.
Books got a lot of praise, and she didn't sign
up for like people attacking her for this actor that

(49:29):
didn't like this actor, Like she's really got nothing to
do with that.

Speaker 1 (49:32):
No, I think that.

Speaker 2 (49:33):
Which is also why she should have not said anything.
Probably it doesn't I'm not faulting her for saying anything.
I'm just saying I don't think she should have right.

Speaker 1 (49:40):
So we get to the premiere of this movie in
August of twenty twenty four. Initially, Blake Lively says, Justin
Baldoni can't be there at all, period. He's not allowed.
It's not allowed to go. Of course, not can't be there.

Speaker 2 (49:51):
He's a lead star and he ran the whole movie
and directed it and everything. I mean, he should be there.
They have to ry Reynolds there.

Speaker 1 (49:59):
I don't even if he was there, they have to
negotiate to allow him to be at the premiere and
during the negotiations it is so they put into place
that he is allowed to go, but he has to
be in a separate theater.

Speaker 2 (50:17):
That's not going.

Speaker 1 (50:17):
Then he's in a separate theater.

Speaker 2 (50:19):
Do you have a different red carpet?

Speaker 1 (50:21):
No, but he cannot be on the risk the red
carpet the same time as her. He has to be
in a different holding area like him and his friends.
And all the wayfair people are held in like this
basement area. They took photos of it. There's there's drinks,
like drinks all around them. It's just like a you know,
some basement.

Speaker 2 (50:38):
Area where she can't be okay with all, She's got
to be embarrassed at all. This is surfacing, I.

Speaker 1 (50:43):
Don't know, but we can we can throw some of
the images up there of him with his family and
his friends being held in like this basement area. Because
he's not allowed to be on the red carpet the
same time as her. He has to be he has
to premiere the movie for the first time. This first
time he gets to see.

Speaker 2 (50:59):
It, well, see it on a big screen, right, Well, no.

Speaker 1 (51:01):
See it. He doesn't know what the cut is. Oh,
this is the first time he gets to see it.
Oh wow, he's not allowed to go to the after party.
He has to finance his own after party for his
family and friends. He can't go to the other the
other party that he paid for because this is wayfairer
that pays for all of this stuff.

Speaker 2 (51:21):
Dude, why didn't he just dumper at this point the
movie's already done?

Speaker 1 (51:24):
Well, what do you mean dump her? How's he gonna
What does that mean?

Speaker 2 (51:27):
Make her not allowed to govern? The premiere?

Speaker 1 (51:28):
He has power?

Speaker 2 (51:30):
Why don't know? Does he not have any power? In
the beginning? I understudies trying to make sure the movie
gets done, and she's smiling. But now it's done.

Speaker 1 (51:39):
So because I think.

Speaker 2 (51:42):
He's probably know why because he's probably a nice guy.
I think he probably is one to not have confrontation
and want to keep peace and just get the movie
out there, right, So it's a little bit showing it
his character.

Speaker 1 (51:52):
Okay. Also, I just want to this is important too,
because I think this goes to the heart of who
he is. The cast ends up on following him on Instagram.
I think that was all basically had to be done
with the thing. I think that had to do with
Blake or Ryan or whatever, just setting up that he
wasn't a good guy and that they shouldn't have anything
to do with him. But I do want to read
this text that he included in his complaint. This is

(52:14):
a text from the girl named Isabella Ferrer who played
the young Oh yes, okay, okay, she played young Lily.

Speaker 2 (52:22):
Okay, okay.

Speaker 1 (52:24):
She sends this to Justin Baldoni after finished filming.

Speaker 2 (52:27):
Okay, okay, go ahead and read it.

Speaker 1 (52:29):
Hey just got my film developed from when we were shooting,
So here's the sweet pick. I also have to say
thank you so so much for an incredible experience on
my first film. I still can't shake the feeling of
it all because it truly was life changing for me.
You are such a wonderful, smart and sincere director, and
you created such a comfortable, safe space for me to
feel like I could fully step into this role. I

(52:51):
couldn't have asked for a more welcoming environment. It will
stay with me the rest of my life. See you soon,
whether in the fall or later, and I hope you're
doing well, and I'll do.

Speaker 2 (53:01):
You want my thoughts on that. It certainly is not harmful,
but she's inexperienced as her first movie. Of course she's
going to kiss up to the boss and say it
was awesome. I know, but I'm just say she certainly
didn't make complaints either. It helps him, no.

Speaker 1 (53:14):
But I'm saying this is how she legitimately felt after
she filmed her movie with Justin BELLDONI then she later
follows h I'm saying she to me she was coerced
because if you see her walk on the Red carpet,
she comes on the red carpet with Blake Lively, she
was styled by Blake, she wore a dress that Blake

(53:35):
told her to wear. She wore Blake's shoes. I think Blake.

Speaker 2 (53:38):
Okay, So here we are, she's besties with Blake, are
wanting to be right, starstruck with her opportunity to be
in a movie with some A listers, right, And then
you'd think she would have picked up on some vibes
of the supposed sexual harassment or whatever or professionalism with

(54:00):
Belt with Justin. But she didn't. She didn't, So whether
she's kissing him or not, had she probably didn't hear
anything from Blake about any problems.

Speaker 1 (54:12):
No, because I would assume that if she was aware
of that or she thought those things were actually going on,
or she thought.

Speaker 2 (54:18):
Right she had some wind of anything that she wouldn't
have sent it. If she's as close to Blake as
she was in filming, she probably would have had wind
of something right.

Speaker 1 (54:26):
So to me, that text is very telling. I thought
it was.

Speaker 2 (54:29):
Did she changed her to now?

Speaker 1 (54:31):
I don't think anyone knows what to say all these acts.
I think everyone came out and supported Blake in the beginning,
and now I think they're all radio silence.

Speaker 2 (54:38):
Was Blake lightly really that big of a star? I
don't even remember what's she been in. I don't even
know what she's been in.

Speaker 1 (54:43):
Yeah, I would say so she was in the Sisterhood
of the Traveling Pants.

Speaker 2 (54:48):
Yeah, that's in my cue. I haven't seen it yet.

Speaker 1 (54:51):
All right, let's go into the promotion of this movie.
The promotion of this movie ends up being disastrous for
her because she promotes the movie in a way where
they don't talk about the domestic violence. They promote it
in a way where it's a flowery, fun, grab your
girlfriend's in a cocktail, go see this movie. She also
promotes her hair care line, and she promotes her booze business,

(55:15):
so she has an alcohol brand called Betty Booze, and
she has a hair care line called Blake briens Don.

Speaker 2 (55:20):
Like, if she'd go on a talk show to promote
the movie, she'd also bring up those things.

Speaker 1 (55:25):
Yeah. I think her promotion just was basically around this flowery,
floral type of thing, very frothy, superficial. Go with your girlfriends,
and by the way, try my hair care line, and
also I have this booze company. And I think with
the with the premiere, there was alcohol and all these things,

(55:45):
and I think people did not like it because according
to the statistics, fifty five percent of domestic violence has
to do with alcohol. So it wasn't People were not
making the connection and they were not receiving it. Well,
they were like, wait, we thought this was about domestic violence,
it was about survivors.

Speaker 2 (56:05):
It was when you went and saw the movie, was
it about domestic violence and survivors? Did you get that
message as you did in the book?

Speaker 1 (56:10):
Yeah?

Speaker 2 (56:11):
I did you have the same message as you did
in the book.

Speaker 1 (56:14):
Yeah.

Speaker 2 (56:14):
Okay, But she's out promoting it like it's just a
light popcorn movie, right, and she.

Speaker 1 (56:20):
Got massive backlash from social media because of that.

Speaker 2 (56:24):
So you mean that like people saw the movie or
knew the book, and then see the way she's painting
the picture of this movie. And they didn't like that
because right now, no one knows during the promotion of
this movie, no one really knows all this that we're
talking about, right, It hasn't really surfaced publicly yet.

Speaker 1 (56:41):
Oh, you mean about the rift between the two. I know.
This is when people start speculating because people notice that
he's not on the red pat That's what.

Speaker 2 (56:47):
I'm saying is they're making the independent conclusion that the
way you're talking about the movie and the way the
book reads and the movie shows is not how you're portraying. Right.

Speaker 1 (56:57):
Oh, she also removed him from all the marketing material
for why wouldn't. If you look at the poster, the
movie poster, it's just her. He's nowhere on it. She
just writes them out completely. He's in a basement.

Speaker 2 (57:09):
Well, the title now seems very fitting. It ends with us.
The name the titles us. It's over.

Speaker 1 (57:15):
It is over. Yeah, So she's promoting this movie. She's
getting major backlash. This is where the pr people come in,
and this is where she accuses him of a smear campaign.
And you know, here's my thoughts on all these.

Speaker 2 (57:28):
Wait, was he running around promoting the movie? Was he
doing talk shows and stuff like that?

Speaker 1 (57:31):
He was promoting the movie, but he was promoting it differently.

Speaker 2 (57:34):
But he was promoting. She allowed him to go promote
the movie.

Speaker 1 (57:38):
He did his own thing. He was not allowed to
promote with her. He so he just pivoted and did
his own thing.

Speaker 2 (57:43):
Okay, So apparently.

Speaker 1 (57:45):
Sony, She and Sony came up with this marketing promotional
plan which had to do with this whole flowery type
of you know, grab your way.

Speaker 2 (57:53):
Why would she do that? Why do you think she
would do it? Want to paint it that way? She
hadn't read the book and she doesn't.

Speaker 1 (58:00):
I think it was just a big miss step.

Speaker 2 (58:02):
I think she But why do you think was she
trying to change the image of the movie. Was she
just playing stupid and she probably just doesn't know the message?

Speaker 1 (58:11):
Well, I think she didn't read the book. I think
she didn't meet with the No More group that he justin.
Baldoni offered for her to meet with this domestic violence organization.
She didn't want to meet with them. I think she
focused on this flowery image of it because she thought
that was the right thing to do.

Speaker 2 (58:28):
I mean, okay, okay, but here's she was a little
far removed from from being a part of this whole
group and trying to make this movie and promote it,
and so then she deviated and did her own thing, deviated, did.

Speaker 1 (58:38):
Her own thing, and it didn't go well. And he
when he did it.

Speaker 2 (58:42):
Do you see any of the promos, because I know
you read the book on your own long ago, and
you were excited for the movie to come out, and
you were very supportive of calling me over having her
an awesome book turned into a movie, and then you
saw the movie, And then did you see her promos
or anything?

Speaker 1 (58:58):
I did. I saw hercles, and I saw I saw
where people were saying, this is tone death.

Speaker 2 (59:04):
And did you agree with it?

Speaker 1 (59:05):
I did, okay, And I know that his way of
promoting the movie, because he had to promote on his own.
He's just off on his own doing interviews. He's not
with her with the project still, it's Blake and the
cast and it's him on his own.

Speaker 2 (59:17):
And this guy got I know you can't a hostile
take away.

Speaker 1 (59:22):
I know you can't help the fool. Sorry for this man,
but he's when he's talking about the movie. He's talking
about victims and about bringing it to light and about
how hopefully it helps people and people can watch the
movie and maybe feel empowered to leave a situation or
good man. Yeah, So she does not like that because
there are two different promotional avenues going on and people

(59:45):
are she's getting major backlash and people are thinking what
he's doing and saying the right thing. So I think
she's living.

Speaker 2 (59:52):
Oh yeah, lived, You're right. That was the final nail
on the coffin where she's like, he was not supposed
to be getting any praise else. Let me tell you,
he's not even in the promo shots.

Speaker 1 (01:00:05):
I read this in the complaint and I believe it,
even though there isn't any correspondence back this up. But
I do believe it Justin Baldoni in his complaint, and
I haven't heard anybody else talk about this. I don't
know if anybody else picked up on this, But during
that promotional tour where she was getting major backlash from
social media, she and Ryan Reynolds, through their agent, reached

(01:00:26):
out to Justin Baldoni and Wayfairer and demanded that they
write a public apology, and they drafted the public apology
and told them you have to issue this and he.

Speaker 2 (01:00:39):
Apologized for what for the marketing? Oh, like, I'm sorry
for talking about domestic abuse and he is a popcorn movie. No.

Speaker 1 (01:00:46):
She wanted them to take to Fall on the Sword
and say it was our error in judgment. You know,
we shouldn't have marketed the movie like this. And he refused. Yeah,
he refused, wayfairer.

Speaker 2 (01:01:00):
He drew the line. He was like, I'm done. I'm not.

Speaker 1 (01:01:02):
So he refuses, and apparently their their response was, now
the gloves are off. Yeah, now the gloves are off.
And then they sue him in December. So this was August.
This is the August time frame when this movie premieres.

Speaker 2 (01:01:18):
And they're doing only a month later they see them, No.

Speaker 1 (01:01:21):
This is August. They sue him in December.

Speaker 2 (01:01:23):
Oh decent, I thinky, said Seppewer. So yeah, not long
four months.

Speaker 1 (01:01:26):
No, And then this is where all the PR people
come into play. Blake Lively got a hold of those
personal text messages between Justin Baldoni and his PR people,
and give me a break. Subpoena, Shippina, there's no subpoena.
There's not a subpoena. This is PR people confiscating phones

(01:01:48):
and then giving these private text messages between Justin Baldoni
and his PR people to Blake Lively's team. Yeah, and
then they sue him saying sexual harassment and a smear campaign.
And I want to talk about the PR thing. First
of all, this is this is Hollywood, and these are
a less actors, and people hire crisis management teams, and

(01:02:08):
everybody has a publicist. You're trying to spin your client's story.
They're trying to spin their client story. They're trying to
get good, you know, good stories out there about Blake.
He's trying to get good stories out there about him.
He doesn't want this sexual harassment stuff to come up
that she's accusing him of. Of course, he hired a
crisis management team. He's been accused of things, He's been

(01:02:31):
accused of being as.

Speaker 2 (01:02:32):
Sexual Probas didn't hire a team to bash her. He
hired a team to try to control the situation.

Speaker 1 (01:02:38):
That's the way it was to me. There is a
text that that she uses in her complaint where his
PR girl Jen Abels, says something to the effect of
he wants us to be able to bury her something
like that. And the new and the whole New York
Times article goes with that text. But if you read

(01:02:58):
multitudes of tech that he has with his PR team,
he says repeatedly, don't do that. Is that a bad
article that we did. Don't put bad stuff out like
He makes it clearer that he doesn't want it to
be a bashing session. He's just trying to protect.

Speaker 2 (01:03:14):
Oh, yeah, that's exactly what I said. He did.

Speaker 1 (01:03:16):
Yeah, I know he's trying.

Speaker 2 (01:03:17):
To put that he's a good dude.

Speaker 1 (01:03:18):
That's the way it looks to me, is he is
trying to do nothing more than protect his own image,
his own movie, his reputation, his investment because there was
a second book, and how is the second book going
to get made? I heard and I asked people that
would know if he purchased the rights to the second book,
and they say, yeah, sure he did.

Speaker 2 (01:03:37):
Yeah. I think that's given right.

Speaker 1 (01:03:39):
So now, how does this man make this movie?

Speaker 2 (01:03:41):
He may not?

Speaker 1 (01:03:43):
How can he?

Speaker 2 (01:03:43):
He may not. He's going to focus on his former
million dollar all the suit.

Speaker 1 (01:03:46):
He can't make this movie. And I think that's that's
one of the reasons why you probably ask for four
hundred million, because that goes to show actual No. Yeah, damages.

Speaker 2 (01:03:55):
Well, it sucks because although the money is good, he
really wants to make the movie.

Speaker 1 (01:03:58):
Oh no, he wants to make the movie.

Speaker 2 (01:04:00):
Agree, But we'd have to make ten million dollars with
the movie than one hundred million dollars in court.

Speaker 1 (01:04:03):
I agree on.

Speaker 2 (01:04:04):
But now with Blake Levely, screw her seriously. I wouldn't
work with her. Why would you work? Why would anyone
want to work with her? Now? She's litigious, she's dangerous.

Speaker 1 (01:04:14):
Yeah, oh no, I don't. I don't disagree with that
at all.

Speaker 2 (01:04:18):
We need to get Justin on here. You want to
get Justin ask him what the heck is going on?
Or we going to get Blake on here? That'd be better.
Oh yeah, yeah, I'm sure Blake and Ryan Reynolds are
a lot listeners right now going We needed to clear
those up, right.

Speaker 1 (01:04:32):
I'm sure after Blake listens to this episode, she's gonna
definitely want to come on this podcast. Let's just go
in a little bit into some things that are in
the news. First of all, the whole Deadpool thing, where
people are picking up on the fact that one of
the characters nice Pool, is making fun of Justin Baldoni.

(01:04:56):
Ryan Reynolds plays problem Deadpool, but he also has that
alter ego character nice Pool, who there's all these you know,
similarities in his speech that have to do with Justin Baldoni,
Like he wears the man bun. He talks about how
he's a feminist, he talks about how yeah, and you
said he is, I'm sorry he is. He's a good
looking guy, manun. He pulls it off. You gotta google

(01:05:19):
some images. He pulls it off.

Speaker 2 (01:05:20):
Well, well, it's not like I'm gonna be able to
figure out if he's good looking.

Speaker 1 (01:05:24):
Right, all right, so for it. Baldoni's attorney sends a
you know, a preservation of evidence letter to the movie
studio to Marvel over the nice Pool character. So Baldoni's
attorney believes that Lively's husband, Ryan Reynolds was flagrantly mocking
Baldoni in a sequence in Marvel's Deadpool and Wolverine. The

(01:05:44):
sequence features Reynold's playing nice Pool, an oafish alternate version
of the hero Deadpool, saying such lines as where in
God's name is the intimacy Coordinator and complimenting Ladypool for
snapping back into shape after giving birth. When Deadpool points
sell Nice Pool's misogyny in the scene, the latter replies,
it's okay, I identify as a feminist. During the development, production,

(01:06:07):
and marketing of It Ends with Us, Baldoni often touted
his credentials as a feminist and an ally to women.
He also does a podcast that had to do with
like toxic masculinity and you know, things like that. So
the attorney sending the preservation of evidence letter, what does
that suggest to you? What is what is that for?

(01:06:27):
What is the intent?

Speaker 2 (01:06:28):
Well, because the're afraid they're going to destroy it and
then they want to use it against him.

Speaker 1 (01:06:31):
Right, So I think at some point there might be
some lawsuit against Marble as well. I don't know. Yeah,
but I'm sure Marvel Studios is like, are you kidding me? Like,
we don't want to be involved in this, but anyway,
So there's a preservation of evidence letter which basically says
anything has to do with the character of Nice School.

Speaker 2 (01:06:46):
Yeah, but I don't know how involved they would be
other than just being a participant of providing evidence. Yeah,
I mean, were they going to assume Marble saying you
made fun of just involving a man? That seems like
a stretch. Right, But yeah, you're right, it doesn't look
good for well, it doesn't if I'm involved in some
personal issue with someone and then they send a letter

(01:07:07):
to my boss saying preserving evidence. Yeah, that's not a
good look for me. So that's essentially what they did.

Speaker 1 (01:07:14):
Also, I think it's important to get into this rooftop
scene so that we can then go into this six
and a half minute voice memo from Justin Baldoni to
Blake Lively that was just released today, so we get
to discuss that.

Speaker 2 (01:07:28):
Okay, what is the rooftop scene and.

Speaker 1 (01:07:29):
The rooftop scene in the book, this is a pivotal
scene because this is where the main character, Lily meets
Ryle for the first time. Now, I think this is
a very important scene because we're talking about domestic violence,
and I think Colleen Hoover does an amazing job of
introducing Ryle to us as a doctor and as someone

(01:07:50):
that's very passionate. When she first meets him on this rooftop,
he had just been in a surgery and he had
lost I think a child had died, and he was
reeling and he was emotional and he was upset, and
you immediately are attracted to him as a good guy.
He also shows a little bit of a violent side

(01:08:11):
where he kicks a chair, and I think this is
all foreshadowing as to who he is as a complex
character later in the book, when we learn more about
him and his background. Anyway, I would say a lot
of people have said this is an iconic scene, a
pivotal scene.

Speaker 2 (01:08:25):
I would agree with that as far as the storyline
exactly so.

Speaker 1 (01:08:30):
In Baldoni's complaint, he says that Blake Lively reaches out
to him and says, hey, can I take a pass
at writing this scene? Obviously there's a script and the
scene's already been written. She wants to write the scene. Again,
Let's go back to the fact that as far as
an actress, she's her scope of her employment is actress.

(01:08:52):
And again, as far as he alleges, she hasn't read
the book. According to his complaint, there's some time type
of meeting at her New York penthouse and Taylor and
Ryan are both there, and Blake has rewritten this scene,
and according to Justin Baldoni, they're both raving. And when
I say both, I mean Ryan and Taylor are raving

(01:09:15):
about how amazing the scene is. That she has written,
so Justin Baldoni leaves, and apparently he says to her
at some point in a text or I'm not sure
what he thanks her for her passion, meaning great job
putting a lot of work into it, but I don't know,

(01:09:37):
we'll probably I think he says, I was.

Speaker 2 (01:09:38):
Trying to recognize her going out above and beyond, so
to speak, in writing and contributing, when really he didn't
want to hear it, right.

Speaker 1 (01:09:49):
And you know, I think he also knows he's walking
on eggshells with her, right, So he's trying to say
he's trying to give her compliments without letting her completely
take over. So I think he probably thought that was
a great way to be like, you know what, I
appreciate the passion that you put into that. And then
I think.

Speaker 2 (01:10:09):
Choice of words, well, passion, Yeah, I mean that's neither
here nor there, right, And.

Speaker 1 (01:10:14):
Then he says something to the effect of, you know,
most likely the scene will be what was already written,
and then some of the things, and like, I'm sure
he's trying to include some of the things.

Speaker 2 (01:10:25):
Yeah.

Speaker 1 (01:10:25):
Anyway, apparently, according to him, she goes silent for days.
He doesn't hear from her, then I guess he gets
a text. This is the Khalisi text, right, and I'll
read a little bit more of the text. So she says,
they asked what you thought specifically after and they means
Ryan Reynolds and Taylor Swift, who she's referring to. They
checked in so many times. I told them that you

(01:10:47):
laughed a bunch and said it's probably a blend, but
you appreciate my passion so much, which of course did
not feel great for me or them to have my
passion be praised instead of any specific contribution, or even
just that you don't like the pages, which was fine also,
So she's basically saying, hey, they keep checking in. They

(01:11:09):
want to know your thoughts. They thought it was amazing.
Why are you not thinking it's amazing too? Then there's
a lot more that has to do with how amazing
and how great her two dragons are. Then the very
end of this text is the Kalisi text, where she
basically makes reference to Game of Thrones where she's Kalisi
and they're her two dragons. And to me, I take

(01:11:32):
that as kind of a veiled threat, like, not only
am I blake Lively, but I just want to warn
you that I have two of the most powerful people
in the world as my friends, and you should probably
go along that. We all think this rooftop scene is
amazing anyway, So this voice memo comes into play because
this is what I think happened. I think he starts

(01:11:54):
thinking about how he praised her passion. But now she's
ticked off and she's sent him this time, and she
doesn't like what he said, and she doesn't want to
be praised for her passion. She wants to be praised.

Speaker 2 (01:12:05):
For her Shane Reynolds, And it's like, what do you
think about this?

Speaker 1 (01:12:09):
Oh, I'm sure, And so everybody's probably.

Speaker 2 (01:12:12):
He wrote it.

Speaker 1 (01:12:13):
He was insulted, right, So I'm sure everyone around her
is like, don't you know he doesn't know what he's
talking about and you know, praising her. So I'm sure
Justin Baldoni is laying in bed with his mind reeling,
thinking about how he messed up because he praised her
for this passion she put into rewriting and guess second

(01:12:33):
guessing everything. He's thinking, Great, now she's mad. Ryan Reynolds
is mad, Taylor Swift is mad. I'm screwed, right, So
he sends her this sixth minute, thirty second two in
the morning voice memo at two o'clock in the morning,
which Shane and I both listen to. My takeaway from
this voice memo and you can tell me yours was

(01:12:54):
this man was reeling, his mind was going crazy, and
he was trying to do everything possible to get her
back into his good graces.

Speaker 2 (01:13:02):
I mean, how many times do you he he? I
agreed that he was, and I think his voicemail was stupid.
I know it looked he sounded weak. He sounded like, Okay,
I'm sorry, I love you, You're so great, and like
that was kind of the tone. I felt bad for him,
but I was like, dude, you're not going to win

(01:13:23):
anyone over.

Speaker 1 (01:13:24):
Like that, so in your mind, well to me, he apologized,
I be and sweet. It should have been. First of all,
as a as a woman with three children, and Blake
Lively has four kids, I don't want a seven minute
voice memo. I'm not going to listen to it.

Speaker 2 (01:13:38):
That was a high person. I wouldn't want a seven
minute voice memo that is entirely too long.

Speaker 1 (01:13:44):
If you want to apologize.

Speaker 2 (01:13:46):
It was harsh for me to finish that.

Speaker 1 (01:13:47):
I know it was a lot. It was a lot
of repetition. It was a lot of stammering, stammering. It
was a lot of I'm sorry, I shouldn't it wasn't
he saying things like basically like you're so awesome him. Yeah,
and I'm working with Blake Lively to Ryan Ryan, say
hi to Ryan.

Speaker 2 (01:14:07):
I can't believe I because he wasn't playing like Taylor
Swift in the background, or.

Speaker 1 (01:14:12):
I get to I get to I get to be
with Blake Lively every day.

Speaker 2 (01:14:15):
I mean, it was a lot.

Speaker 1 (01:14:16):
It was too much.

Speaker 2 (01:14:17):
Yeah, he was saying that. That was pathetic, that was serious. Okay.

Speaker 1 (01:14:22):
But the question is, because clearly it was his side
that released his voice. It wasn't her.

Speaker 2 (01:14:29):
He's releasing it, So.

Speaker 1 (01:14:31):
What is his intent?

Speaker 2 (01:14:32):
I don't know. I don't know if that did him
any favorites. I don't think it did anything bad for him.
It is to me it made him look weak. And
it may be and it's not like, oh my gosh,
he apologized, therefore she should he's a great guy. No,
I don't know. You could have been apologizing because because
I mean, I think it's I think his voicemail had

(01:14:55):
good intentions. He was trying to reel her in. He
was trying to, you know, appease her. He was trying
to make her feel better so they could get back
to filming or whatever it was. But I think it
was not It was disingenuous because he was just saying
what he thinks he needed to say.

Speaker 1 (01:15:14):
You know what I mean, Yeah, but what he needed
to say.

Speaker 2 (01:15:19):
It was actually his reasoning was not wrong. His reasoning
was valid, legitimate and real, right, and it had good intentions. Okay,
but it just sound as stupid.

Speaker 1 (01:15:29):
There's also a section in this long voice memo where
he makes reference to I'm so sorry that you've gone
through this with other directors or whatever, and a lot
of people I've seen people talking about this online and
they didn't know what he was referring to, and they
didn't understand the context at this point.

Speaker 2 (01:15:46):
I might know, but I interpreted that as he was
just like he heard stories directly from Blake. So he's like, oh, yeah,
that's terrible. I'm not like that, right. I don't know
if there was any history.

Speaker 1 (01:15:55):
Well there is, because I look back at the complaint
because I remember reading something like that, and I did.
I did find it in the complaint and the context is,
he states, early in the pre production stage, Lively sent
Baldoni a long text describing how directors never permitted her
to write scenes for the movies that she acted in,
nor gave her writing credits, even making her hand scribble

(01:16:18):
her suggestions for lines so that they could not be
traced back to her. Lively boasted that she had even
written for her husband's movies. So I think she sent
these long texts as a manipulation tactic of like, hey,
I know what I'm doing. I've written scenes, I've rewritten things.
I've just never been given credit before, kind of a

(01:16:40):
woe is me type of feel badly for me. And
then that's what he does in that voice memo. He's like, hey,
I am so sorry that you were treated like that.

Speaker 2 (01:16:48):
Ask them I'm not like that. And if you remember,
he's he's not like that. Now, let's go finish the
movie right now, get out of the editing.

Speaker 1 (01:16:59):
Okay. Anyways, So that is our take on the on
the six and a half minute.

Speaker 2 (01:17:04):
I always I recommend that anyone listening to this podcast
do not listen to the seven minutes or you will
want it back.

Speaker 1 (01:17:13):
It's a lot, it's a lot of ramd you feel
for him too. I think the intent of them releasing
it was so that you could hear in his voice
that he is literally trying to just get along with it.

Speaker 2 (01:17:25):
He was saying what she wanted to hear because he
just wanted to move on, and that.

Speaker 1 (01:17:31):
He's the nice guy in this. He's telling her she's amazing.
He's saying he loves Ryan. He's bowing down.

Speaker 2 (01:17:38):
I know that, I'm sorry. You know you want to
crap out O Ryan. And he's never going to listen
to Taylor Swifts song again. You know that, right either.

Speaker 1 (01:17:49):
So Anyway, originally the first pre trial conference was scheduled
for February twelve. We do know now that it's been
moved up. It is actually next week, and the judge
told both lawyers on each side to be prepared to
address the complaints about all the pre trial publicity. And
we touched on this a little bit before that was
the letter that Blake Lively's team sent to the judge

(01:18:11):
directly saying, Hey, you know, Brian Friedman's playing out this
lawsuit in the public by releasing.

Speaker 2 (01:18:18):
All this footage. Please disregard the fact that I went
to the New York Times, right, and look at this
attorney was responding to all these outlandish allegations I write against.

Speaker 1 (01:18:30):
And I'm sure it also has to do with the
fact that he also did say, Hey, we're just gonna
We're just going to make a website and we're just
going to put everything on this website. We're going to
put the raw footage on there, all the text, messages, everything.

Speaker 2 (01:18:42):
You should probably put it on Patreon. You can probably
make a few bucks, or put it on YouTube. It'll
be millions of viewers and then a bunch of comments.

Speaker 1 (01:18:51):
And then so the pre trial conferences next week where
we will figure out or at least the judge will
make some type of decision on how this is going
to play out in the MEETA because both sides have
been using publicity.

Speaker 2 (01:19:03):
Get their in California is in New York.

Speaker 1 (01:19:06):
So the trial date is scheduled for March ninth of
twenty twenty six, which is basically.

Speaker 2 (01:19:11):
Two seconds that is googled it. I put Ryan Reynolds's
Lively trial date March nine came up March ninth.

Speaker 1 (01:19:17):
Six, Okay, So anyway, that's when the trial date is.
We'll see what happens until then clearly there will be
a lot more things that come out. We'll see how
this plays out in the media. We'll see what the
judge says regarding whether they're allowed to continue to release
raw footage and release all these text messages and voice
memos and all these things, and.

Speaker 2 (01:19:36):
We will keep you informed on that, hopefully, hopefully get
settled before the next Taylor Swift tour date. So very important, yes,

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Tamra Judge

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Legally Brunette: Blake Lively vs. Justin Baldoni Part 2