The Gaudy Blog

The movie It Ends With Us, based on the novel of the same name by Colleen Hoover, hit theatres August 9th. The drama, which tackles the difficult subject of domestic abuse, was extremely successful and secured more than $180 million globally, but faced backlash from many moviegoers and reviewers because of the way it was marketed.

The Controversy

It Ends With Us is supposed to be an inspirational film and one that sheds light on partner violence, but the promotional materials and marketing were incongruent with the message. For example, the depiction of floral prints and girls’ night outs were a few examples of the film’s marketing, which are not related to domestic violence at all. Many assumed the film’s executive producer, Blake Lively, was attempting to create a Barbie-esque following around the movie, urging women to “grab your friends, wear your florals, and get out to see [the movie]” which was not in keeping with the film’s subject matter. Lively was also heavily criticized for using press tours to cross-promote different business ventures, like her husband’s alcohol brand and her hair care line.

Additionally, the film (and book) have been criticized for romanticizing abuse because of the way the subject matter was treated. Many films and books have tried to find balance with expressing some of the real life experiences that many people have without romanticizing or idealizing aspects of dysfunctional relationships to mixed success. When It Ends with Us was promoted the same way as a romance film would be marketed, many people reacted negatively.

The Complex Role of Celebrity Activists

It’s understandable for celebrities to want to promote their own brands and projects while receiving the press and attention that comes with promoting a new movie. With this film, however, using the focus to sell products detracted from the film’s message and the topic of abuse. Lively appeared more interested in driving profits than sparking activism around domestic abuse.

The backlash Lively experienced highlights the complex tightrope celebrities walk as activist artists. Promoting a movie tackling intimate partner violence requires thoughtful messaging and campaigns centering survivors’ voices. Domestic abuse advocates argue Lively should have more intentionally used her platform to provide resources, guide serious conversations, and partner with organizations supporting survivors.

Ultimately, however, the missed opportunities lie with the studio as well as with Lively. Sony Pictures Entertainment made deeply questionable decisions, like naming cocktails after abusive characters. Going for lightweight branding and profit-seeking over responsible messaging represents a failure to read the room. 

The Need for Nuanced Portrayals

Beyond just the film’s promotion, It Ends with Us sparks important debates over portraying domestic abuse on screen. Some praise Hoover’s novel and the movie adaptation for tackling this subject. The story resonates with many survivors who relate to protagonist Lily Bloom’s uncertainties around her partner’s behaviors. Other readers, however, argue It Ends with Us still overly romanticizes toxic relationships.

Although Hoover’s book captured mainstream popularity, questions emerge around responsible storytelling. Does positioning an abusive romance novel as a bestseller risk further normalizing violence? Or do such portrayal open conversations about unhealthy dynamics hiding behind romantic tropes?

The reality likely lies somewhere in the middle. Portrayals should avoid fetishizing abuse, while still reflecting the messy complexities of real-life relationships. Nuanced stories like It Ends with Us can help spread awareness, so long as they come with appropriate framing and resources. Activists mainly take issue when studios market the movie just like any other lighthearted rom-com.

The film itself has earned praise from some viewers for sensitivity around domestic violence trauma. Yet they too criticize shortcomings like the overly simplified, dangerous confrontation with the abuser. Movies influencing public perceptions of abuse must take care to avoid dangerous misinformation. Responsible studios should research lived experiences and partner with advocacy organizations.

Creating a Movement Around Domestic Abuse

Even outside of movie theaters and book clubs, society has been grappling with domestic abuse and how to deal with it. A deeper layer is the depiction of domestic abuse victims, both in media and in public discourse. Marginalized groups are often not depicted or included in domestic violence conversations. The anti-abuse movement still needs to elevate diverse voices while combating bias.

While supporting individual victims and emphasizing patterns of power and control in relationships, society must also reckon with enabling systems. Income inequality, health disparities, housing discrimination…the conditions keeping victims trapped in bad situations extend even beyond violent partners. Real progress requires nuanced legislation, police accountability, activism across intersecting issues, and cultural shifts to normalize speaking out.

Films like It Ends with Us can spark a conversation on intimate partner violence in the cultural zeitgeist. But responsibility falls on studios to promote these types of film and media appropriately, emphasizing survivor voices and support networks over profit. Celebrity involvement proves most powerful when they humbly listen, learn, make space for advocates, and steer conversations toward advocacy and action.

Any project tackling the trauma of domestic abuse must center on those with lived experience in production and messaging. Flippant remarks or superficial branding risk the type of backlash It Ends With Us experienced. With these sorts of stories, studios owe diligence toward their audience and a focus on social impact over box office numbers.

Responsible Promotion in Service of Greater Aims

Movies don’t exist simply for entertainment—they shape public discourse around urgent issues. A film addressing domestic violence comes tied to an obligation for ethical messaging and movement-building.

Regrettably, those behind It Ends with Us missed an important chance to meaningfully shift conversations and contribute to survivors’ healing. Lively’s defensiveness and Sony’s superficial branding clashed with the story’s weighty aims.

The path forward lies in studios embracing their unique chance to responsibly challenge assumptions and partner with networks supporting those in need. Celebrity activism makes its greatest impact by humbly amplifying existing efforts rather than focusing on profit. Any project addressing trauma, violence, or deep societal issues should include the voices of those with lived experience in these areas when crafting its vision and driving social responsibility.