The release of the film adaptation of Colleen Hoover’s popular novel, It Ends With Us, starring Blake Lively and Justin Baldoni, was overshadowed by rumors of an off-screen feud between the two stars. Fan speculation began swirling on social media platforms like TikTok, fueled by observations such as Lively not following Baldoni or any of her costars on Instagram, despite being a producer on the film. This lack of social media connection contrasted with Baldoni’s following of Lively and his frequent appearances on Hoover’s Instagram during filming. Further fueling the speculation was Hoover herself not following Baldoni, hinting at a potential larger falling out.
The speculation intensified as fans noted Baldoni’s absence from joint press events and the lack of group photos from the film’s New York City premiere. Lively’s revelation that her husband, Ryan Reynolds, contributed to a scene in the film, coupled with Reynolds’ subsequent involvement in the film’s promotion through an interview with costar Brandon Sklenar, added another layer to the narrative. Reports emerged alleging Lively requested a personal cut of the film from editor Shane Reid before its finalization, though it remained unclear if any of this alternative edit was incorporated into the theatrical release. Sources stated that all parties ultimately agreed on the final cut of the film.
Despite the swirling rumors of tension, Baldoni publicly praised Lively during the press tour and even suggested she direct a potential sequel based on Hoover’s follow-up novel, It Starts With Us. He expressed his belief in Lively’s directorial readiness, while also stating his need for a break after directing and starring in the first film.
Two years after the film’s release, the narrative surrounding Lively and Baldoni took a dramatic turn. A $250 million lawsuit was filed against The New York Times by ten plaintiffs, including Baldoni, his publicists, and the film’s producers, alleging a "strategic and manipulative" smear campaign orchestrated by Lively. The lawsuit contended that Lively’s accusations of sexual harassment against Baldoni were false and that The New York Times’ reporting on the matter was biased and incomplete, omitting crucial details. The New York Times stood by its reporting and vowed to defend itself against the lawsuit, while Lively’s attorneys dismissed the lawsuit’s premise as "obviously false."
Prior to the lawsuit, reports emerged that Lively had sued Baldoni for sexual harassment and emotional distress. Baldoni’s lawyer vehemently denied these allegations, characterizing them as "completely false, outrageous and intentionally salacious." The legal battle between Lively and Baldoni thus escalated, transforming the initial whispers of on-set tension into a full-blown legal conflict.
This complex situation underscores the challenges of navigating public image and interpersonal relationships in the entertainment industry. The initial fan speculation, fueled by social media observations and perceived snubs, evolved into a serious legal dispute involving accusations of harassment and smear campaigns. The conflicting narratives and legal actions highlight the difficulty of discerning truth amidst public relations strategies and the potential for personal conflicts to overshadow creative endeavors.
The trajectory of the It Ends With Us film adaptation, from pre-release speculation to post-release legal battles, became a case study in the power of public perception and the complexities of interpersonal relationships within the entertainment industry. The unfolding events transformed the film’s narrative from a story of romantic entanglement to a real-life drama involving accusations, denials, and legal maneuvering. The story also highlights the impact of social media in amplifying rumors and shaping public opinion, and the potential for such narratives to overshadow the artistic work itself.
