It Ends With Us Tops Hulu Charts as Blake Lively’s Highest-Grossing Lead Role

The 2024 romantic drama It Ends With Us has found surprising new momentum in the streaming marketplace, currently dominating Hulu’s viewership charts according to data from FlixPatrol. This resurgence marks a notable second act for the Colleen Hoover adaptation, which initially stormed theaters in August 2024 to become Blake Lively’s highest-grossing cinematic outing in a leading capacity. While Lively appeared alongside husband Ryan Reynolds in the mega-blockbuster Deadpool & Wolverine as the voice of Ladypool, that performance amounted to a glorified cameo without on-screen facial appearances—making It Ends With Us her definitive box office triumph as a headlining star.

Despite its commercial success during the theatrical window, the film’s migration to streaming arrives burdened by significant industry baggage. The production became synonymous with controversy following explosive allegations of on-set misconduct and subsequent legal warfare between Lively and director-co-star Justin Baldoni. As the film now reaches broader audiences via Hulu, it carries both the distinction of being a BookTok-spawned phenomenon and a case study in how off-screen conflicts can permanently alter a project’s cultural legacy.

Theatrical Performance and Career Milestones

Released in August 2024, It Ends With Us translated Colleen Hoover’s digital-age literary phenomenon into substantial box office receipts, earning what industry observers described as a veritable mint during its theatrical run. For Blake Lively, the project represents a significant commercial watermark, distinguishing itself from her previous studio outings by virtue of her top-billed, face-forward starring role. While her voice work in Deadpool & Wolverine technically places her in the highest-grossing film of her career, that superhero sequel features her only as a vocal cameo—making the romantic drama her truest test of leading-lady drawing power.

The film’s financial performance proved particularly noteworthy given the challenging subject matter at its core. Unlike traditional romantic tentpoles, the narrative centers on cyclical domestic violence and trauma, themes that typically constrain mainstream audience appetite. That it overcame these thematic limitations to achieve blockbuster status speaks both to Hoover’s fiercely loyal readership and Lively’s established celebrity brand. Now, its ascension to Hulu’s summit demonstrates continued audience curiosity months after the initial theatrical marketing campaign concluded.

Source Material and Narrative Framework

Adapted from the novel by “BookTok queen” Colleen Hoover, It Ends With Us follows Lily Blossom Bloom, an aspiring florist whose professional ambitions center on opening a flower shop in Boston. Her trajectory shifts upon meeting Dr. Ryle Kincaid, a neurosurgeon whose charismatic exterior masks troubling behavioral patterns. The narrative structure alternates between Lily’s present-day relationship with Ryle and flashbacks to her adolescence, where she witnessed her father Andrew’s brutalization of her mother and experienced her own violent trauma alongside first love Atlas Corrigan.

The supporting ensemble includes several notable performers:

• Justin Baldoni as Dr. Ryle Kincaid, the volatile love interest
• Brandon Sklenar as the adult Atlas Corrigan, Lily’s gentle former flame
• Jenny Slate as Allysa, Ryle’s sister and Lily’s friend
• Hasan Minhaj as Marshal, Allysa’s husband
• Kevin McKidd appearing in flashbacks as Lily’s abusive father Andrew
• Isabela Ferrer portraying Lily’s teenage self
• Alex Neustaedter as the young Atlas

Critical reception proved divisive upon release, with some reviewers finding the film’s tonal approach problematic. As noted in contemporaneous reviews, the movie often navigates its domestic violence themes with the aesthetic sensibilities of a romantic comedy rather than the unflinching severity the subject demands. This stylistic choice generated significant debate regarding whether the adaptation adequately honored the gravity of its source material or inadvertently glamorized toxic relationship dynamics.

Industry Controversy and Legal Resolution

The production’s behind-the-scenes narrative ultimately overshadowed its artistic merits, generating headlines that persisted well beyond the theatrical window. In late 2024, Lively filed formal complaints with the California Civil Rights Department, alleging that Baldoni and producing partner Jamey Heath created a hostile work environment through sustained harassment and inappropriate conduct. Specific allegations included unauthorized entries into her dressing room during states of undress, explicit discussions regarding their personal sex lives, and the non-consensual sharing of sexually explicit video content.

The conflict escalated when Baldoni initiated a separate lawsuit against The New York Times, challenging the publication’s detailed reporting on what the paper characterized as an orchestrated smear campaign against Lively designed to damage her reputation and professional standing. This legal battle continued until May 2026, when the parties reached a settlement agreement, according to reports. The prolonged litigation and public accusations have substantially altered Lively’s public image, creating a complicated legacy for what was intended as a career-defining dramatic role.

The controversy’s ramifications extend beyond reputational damage into questions of industry accountability and set safety. For viewers revisiting the film on Hulu, the on-screen chemistry between Lively and Baldoni now carries unavoidable meta-textual weight, transforming scenes of romantic tension into uncomfortable reminders of the alleged off-screen antagonism. This collision of art and reality has rendered the film a cultural artifact of Hollywood’s ongoing reckoning with workplace misconduct.

Streaming Availability and Viewing Context

It Ends With Us is currently available for streaming exclusively on Hulu, where its chart-topping performance suggests continued audience interest despite—or perhaps because of—the surrounding controversies. The platform placement offers viewers who missed the theatrical run an opportunity to engage with the film’s discussion of domestic violence, though critics have cautioned that the narrative’s handling of abuse cycles warrants careful consideration.

The film attempts to portray how ostensibly “perfect” relationships can conceal destructive patterns, following Lily’s eventual decision to leave Ryle following the birth of their daughter—a narrative choice that gives the film its title. For viewers affected by the themes depicted, resources remain available through the National Domestic Violence Hotline at 1−800−799−7233, with additional support information accessible via the organization’s official website.

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