Movie review
August 7, 2024 · 131 min · PG-13
Woke Score
Lower is better
Breakdown
These are the editorial factors and ratings behind our score for It Ends with Us.
Woke representation / casting
Standard contemporary casting for an urban romance-drama; supporting roles (including Hasan Minhaj) fit the setting naturally with no emphasis on identity signaling or mismatches to story logic.
Woke political dialogue
No political, activist, or identity-based dialogue; conversations center on personal relationships, trauma, and abuse.
Identity-driven story themes
The narrative follows one woman’s personal journey breaking a family cycle of abuse through individual choice and resilience; no group identity, queer, or representation-first framing.
Western institutional / cultural critique
Shows domestic abuse and its generational effects as unacceptable and highlights the difficulty of leaving, but frames this as a private family and relationship issue rather than systemic Western, patriarchal, or institutional critique.
Review
The 2024 film follows florist Lily Bloom as she falls for charming neurosurgeon Ryle Kincaid, only for the relationship to turn physically and emotionally abusive while her first love Atlas reenters her life. Lily must draw on personal strength to leave the cycle of violence she witnessed in her own family and protect her future child. The story stays focused on individual trauma, resilience, and relationship choices with no visible identity politics, activist dialogue, or representation-driven framing.
Woke character or canon changes
Not relevant. Typical film adaptations (age adjustments for leads) occur without ideological or identity-driven alterations to source characters or events.
Anti-woke backlash and complaints
Backlash targeted marketing tone and production disputes rather than claims the film pushes woke or identity politics; no notable right-leaning complaints about DEI or activist messaging.
Creator track record context
Justin Baldoni and Jamey Heath maintain recurring public work on masculinity and gender norms with progressive framing; other key figures show no such pattern, and the film’s content remains personal rather than activist.
Production
