No Winners in the ‘It Ends With Us’ Controversy

Every movie has its unique press campaign that can significantly influence its success. For example, Glen Powell’s quirky dance promotions for Twisters helped the film earn over $200 million domestically. However, it only takes a minor incident or a viral TikTok trend to turn a traditional release into a PR nightmare. The press cycle for It Ends With Us is particularly perplexing.

It Ends With Us, authored by Colleen Hoover, is a popular romance novel that Gen Z audiences adore. Released in 2016, Hoover’s book skyrocketed in sales during the pandemic, especially among young women on social media platforms like TikTok, also known as “BookTok.” The novel addresses heavy themes such as death, domestic abuse, and generational trauma, yet it captivated young readers despite its serious content. “This story was inspired by events in my life and my mother’s life,” Hoover mentioned in a 2016 interview with the New York Daily News. “It was very important to me to do her story justice.”

In 2019, actor Justin Baldoni announced he would be directing and starring in the film adaptation of It Ends With Us, and soon, Blake Lively joined the project as Lily. TikTok went wild with excitement, further boosting anticipation.

The film, slated for an August 2024 release, saw its promotional tour unravel in unexpected ways. Fans noticed that Lively and Baldoni, who play the central couple Lily and Ryle, hadn’t been photographed together, sparking curiosity. Moreover, many realized that cast members and Hoover had unfollowed Baldoni on Instagram, a major red flag in today’s digital world. Baldoni was also seen promoting the film solo at events.

On-screen, Baldoni and Lively portray a complex relationship where love turns into abuse. Strangely, the film’s promotional material hardly addressed the domestic abuse themes, which form the crux of the story. Instead, when asked about the film’s connection to abuse victims, Lively responded with jokes. She also used the movie’s promotional platform to market her new haircare and drink lines. In contrast, Baldoni appeared genuinely focused on raising awareness about domestic abuse. “I wanted to make sure this film always had a female gaze,” he told CBS.

At the film’s premiere, Baldoni seemed to withdraw himself from the possibility of directing any sequel. When asked about it, he hinted that Lively might be a better fit, saying, “Blake Lively’s ready to direct.”

Further behind-the-scenes friction became apparent when reports surfaced about Lively commissioning a different cut of the movie, possibly due to creative disagreements with Baldoni. Additionally, other cast members, like Jenny Slate, dodged questions about Baldoni at the premiere.

The controversy escalated when an unnamed source told Page Six that Baldoni created an “extremely difficult” environment, making Lively “uncomfortable.” Another source revealed to TMZ that an incident where Baldoni inquired about Lively’s weight for a scene led to her feeling fat-shamed, further straining their relationship.

Amid the backlash, Baldoni hired crisis PR manager Melissa Nathan, known for her work with Johnny Depp during the Amber Heard trial, indicating the severity of the situation.

Interestingly, this isn’t the first time rumors of Lively feuding with co-stars have emerged. Speculations about her tension with Anna Kendrick during A Simple Favor filming have been circulating, though a sequel is now in the works.

Baldoni is known for advocating for emotional vulnerability among men, even authoring a self-help book titled Man Enough, which received mixed reactions online. Given his history, it’s puzzling to see such public friction surrounding the film.

The marketing chaos around It Ends With Us shifted focus from the serious themes of escaping abuse to the off-screen drama between Lively and Baldoni. Despite the confusion, the film opened strong, earning $50M in its debut weekend, right behind Deadpool & Wolverine.

The controversy highlights the complexities of mixing personal agendas with professional projects. As Baldoni brings on organizations like No More to raise awareness about domestic abuse, Lively’s promotional efforts seem more self-serving, showcasing a stark juxtaposition. Overall, while the film did well financially, the mixed messaging leaves much to be desired.

For more information and resources on domestic violence, visit No More.