The movie “It Ends With Us”, compiled based on the novel by Colleen Hoover hit theatres August 9th. The movie debut was extremely successful and secured more than $180 million globally. The romantic drama tackles the difficult subject of domestic abuse and relationships. The story was inspired by real-life experiences of Hoover, who grew up with an abusive father.
Even though the movie was a success, the marketing campaign linked with it sparked intense backlash online. Many fans who loved Hoover's novel expressed their disappointment about the movie, mainly because of the lighthearted promotion led by lead actress and producer, Blake Lively.
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 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 tone. In addition, Lively used press tours to cross-promote different business ventures, like her husband's alcohol brand and her hair care line.
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 distracted from the film's vital message. She 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. Lively served as executive producer in this film and with greater creative control comes greater social responsibility around how a film is marketed. 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 more with the studio and marketing team than Lively herself. 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 with rare nuance. 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 experts for overall 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.
Ongoing Movement Building Around Domestic Abuse
The debates sparked by "It Ends with Us" represent just the latest high-profile conversations bringing intimate partner violence into mainstream spotlight. From the Amber Heard/Johnny Depp legal battle to Andrew Tate's online ravings, society continues wrestling with defining and addressing intimate partner violence.
Many survivors point out the eagerness for misogynistic media and activists to poke holes in women’s allegations. Films and books about domestic abuse still often erase marginalized groups. The anti-abuse movement still needs to elevate diverse voices while combating bias.
Alongside 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 extend far 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" make intimate partner violence impossible to ignore in the cultural zeitgeist. But responsibility falls on studios to promote them appropriately, emphasizing survivor voices and networks over profit. Celebrity involvement proves most powerful when they humbly listen, learn, make space for advocates, and steer conversations toward 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 backlash. Studios owe diligence toward their audiences and 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. Still, constructive debates keep emerging, bringing wider reckoning around intimate partner violence.
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 greatest impact by humbly amplifying existing efforts rather than seeking profits. Any project addressing such trauma must listen to those with lived experience in crafting its vision and driving social responsibility.
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