Daphne is an artist in present-day Los Angeles who has just ended a four-year relationship and left her job. She moves into her sister’s pool house and tries to stay away from dating and alcohol while she works out what to do next. At a New Year’s party, she meets Jack, a calm writer, and Frank, his exciting but careless friend. Daphne dates both men, hides the overlap, and spends a painful year facing her fear of being alone, her troubled family history, an old boss’s sexual abuse, and an unexpected pregnancy.
The film makes Daphne’s sexual choices and control of her life the main focus. She is shown as a woman who can want sex, date two men, reject both men, continue her pregnancy, and move forward without either man. The story treats self-love and personal choice as the answer to her pain, while Daphne’s family gives her support. The film also shows Daphne as confused and responsible for hurting other people, so its message is personal and mixed rather than a clear political campaign.
Community feedback
Was our 28% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for Endings, Beginnings.
Woke representation / casting
Not present. The film does not present race or diversity as part of its story or marketing message. The main cast does not form a repeated identity-focused pattern.
0%
Woke political dialogue
Not present. The characters talk about love, sex, drinking, work, family, and a past assault. They do not give modern identity, DEI, or activist speeches.
0%
Identity-driven story themes
Daphne’s main arc follows a woman who chooses her own sex life, dates two men, rejects both relationships, and continues her pregnancy without relying on either man. The film treats self-love and personal choice as the way out of her pain. This message affects most of the story. The film also shows Daphne as confused and hurtful, so the message is mixed rather than strongly political.
38%
Western institutional / cultural critique
The film shows Daphne leaving her job after a former boss sexually abuses her. Daphne later speaks to human resources about his behavior. This points to male abuse of power at work, but the film does not expand it into a broad attack on Western institutions, men, family, or religion.
16%
Woke character or canon changes
Not relevant. The film is an original contemporary romance, not an adaptation or remake. It does not change established characters or real historical figures.
0%
Anti-woke backlash and complaints
Not present. No major anti-woke or anti-left complaints were found in the reviewed news, audience, or social discussion. Negative posts focused on the pregnancy ending, sex, pacing, and Daphne’s choices.
0%
Creator track record context
Drake Doremus has a low cached score and no strong public record of activism or DEI advocacy. Jardine Libaire has a higher cached score because her work often examines sexuality, class, misogyny, and personal freedom. Some CJ producers have moderate cached scores from later work supporting Asian and underrepresented creators. This gives the film some social and gender-aware background, but not a strong activist record.
24%
Production
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