The dismissive tone of the marketing campaign alienated survivors, who might have otherwise found solace in the film.
Marketing a movie is a delicate balance between drawing in audiences and staying true to the story’s core message. However, the promotional campaign for It Ends With Us, the film adaptation of Colleen Hoover’s best-selling novel, was so off-balance it became harmful. What should have been an opportunity to raise awareness about the complex and painful reality of domestic violence instead turned into a misguided showcase that trivialized survivors.
The most glaring misstep in the marketing campaign for It Ends With Us was the disconnect between the film’s serious subject matter and the lighthearted, almost shallow approach to its promotion. The story revolves around Lily Bloom, a woman who falls in love with a neurosurgeon, Ryle Kincaid, only to discover his abusive nature as the relationship progresses. The narrative is a harrowing exploration of domestic violence, depicting the emotional and psychological turmoil that comes with being trapped in an abusive relationship.
Yet, the film’s promotional material, led by its star Blake Lively, suggested something entirely different. Lively’s invitations to “grab your girlfriends and your florals” and head to the theater painted a picture of a fun, light-hearted girls’ night out—completely incongruous with the film’s dark and serious themes.
When a film that deals with such a deeply traumatic subject is promoted in a way that trivializes the trauma, it sends a dangerous message: The pain and suffering of abuse can be packaged and sold like any other product.
This marketing approach parallels Ryle’s treatment of Lily in the film: Just as he initially presents himself as kind and fun, masking his abusive nature, the marketing deceptively presents the film as lighthearted, manipulating the audience through omission. This not only misrepresents the film but also diminishes the gravity of domestic violence, making it seem like just another plot point in a romantic drama rather than the devastating reality it is for so many.
Additionally, Blake Lively’s decision to promote her haircare brand and alcoholic drinks during the movie’s promotional tours sparked significant backlash. One of the events featured themed cocktails, including the controversial “Ryle You Wait,” named after the film’s abuser, which many found insensitive. Critics have highlighted the troubling irony of using alcohol to promote a film about domestic violence, especially considering the link between alcohol abuse and partner violence. When a film that deals with such a deeply traumatic subject is promoted in a way that trivializes the trauma, it sends a dangerous message: The pain and suffering of abuse can be packaged and sold like any other product.
The dismissive tone of the marketing campaign alienated survivors, who might have otherwise found solace in the film. Instead of feeling supported, many feel further degraded by the media’s failure to treat their stories with the seriousness they deserve, deepening the challenges victims of domestic and sexual violence already face in being heard and their experiences validated.
What makes this situation even more disappointing is the missed opportunity to use the film’s platform for advocacy. With Colleen Hoover’s massive following and the star power of Blake Lively, It Ends With Us had the potential to spark meaningful conversations about domestic violence. Director Justin Baldoni’s efforts to work with organizations like No More, which supports survivors of domestic violence, were commendable. However, these efforts were overshadowed by the marketing missteps.
Marketing a film about domestic violence requires a careful, sensitive approach that respects the experiences of survivors and prioritizes their voices over commercial interests. The focus should be on raising awareness, educating the public, offering support by listening to survivors, consulting with advocacy organizations and being mindful of the messaging put out into the world.
Moving forward, filmmakers and marketers need to recognize their responsibility when dealing with such delicate subject matter. They must ensure that the core message of the film is reflected in all promotional activities. More importantly, they should contribute to a culture that takes domestic and sexual violence seriously and supports those who need it most.
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