Colleen Hoover’s bestselling novel It Ends With Us has been adapted into a star-studded film, starring the likes of Blake Lively and Justin Baldoni. But the much-talked-about film is facing criticism for appearing to glamorize its depiction of domestic abuse.

The film, which draws from Hoover’s own parents’ relationship, tells the story of florist Lily Bloom, who falls in love with a neurosurgeon named Ryle Kincaid.

During their courtship, Kincaid goes from charming and charismatic to physically and emotionally abusive. Bloom eventually ends the relationship, telling her daughter that the cycle of violence “ends with us,” reflecting the film’s title.

Based on promotional materials for the film, however, some critics say the message about abuse might not come across to viewers.

“The trailer does a disservice to the fact that this could really raise awareness,” said activist and domestic violence survivor Ashley Bendiksen. “But it seems to just be glossing over what the movie’s actually about.”

In one trailer — set to the song “Strangers” by Ethel Cain, which includes the lyrics “don’t talk to strangers or you might fall in love” — the movie seems to hit all the right notes of a typical romance movie.

Viewers see the two main characters — played by Lively and Baldoni — launch into a romantic relationship. You’re teased with the potential of a love triangle, down to a fistfight between the two male suitors. And there’s a brief bout of rage from Kincaid as he breaks a piece of furniture in his apartment.

But the full story is much darker. The abuse Bloom suffers at the hands of Kincaid in the film includes being pushed down a flight of stairs and attempted rape.

“When we use trauma as entertainment, it can feel really exploitative, and just irresponsible, and, in many ways, tone-deaf to the actual issue,” Bendiksen said.

Fan blowback

The film, which was released on Aug. 9, has earned a respectable $242 million worldwide. But despite its success at the box office, criticisms have been scathing.

In one promotional video posted on Instagram, a smiling Lively sits alongside the novel’s author, Hoover, and encourages the audience to “grab your friends, wear your florals and head out to see it.” Florals in this context are a reference to her character, Bloom, owning a flower shop in the film.

Comments on the video criticized Lively’s upbeat tone and attempts to promote the movie as a lighthearted love story.

“As someone who lived through DV as a child, ‘grab your friends, wear your florals’ is a terrible phrase to use about a film of this nature,” one commenter wrote.

“You had an opportunity to turn this into a beautiful thing for women who suffer every day. Shame on you and your PR team for turning a blind eye,” another said.

Many of the comments praised Baldoni, however, for his style in promoting the story.

In one interview posted to the star’s Instagram page, Baldoni says his message for viewers is to always have hope.

“Everybody has the ability to end a cycle that they didn’t ask for. We can all say, ‘It ends with us’ in our life,” Baldoni said.

Baldoni directed the film, and Lively is one of its producers.

“Thank you so much for being the ONLY person on this cast promoting the actual point of this film,” one commenter wrote in response.

“It’s funny to me how the person that is portraying the offender is the only one making the point of the actual story.”

Brandon Sklenar, who plays Baldoni’s romantic rival in the film, said that he and his fellow cast-mates understood the gravity of telling a story about domestic abuse.

“Trust me when I tell you, there isn’t a single person involved in the making of this film that was not aware of the responsibility we had in making this. A responsibility to all the women who have experienced generational trauma – domestic abuse – or struggle with looking in the mirror and loving who they see,” Sklenar wrote in a lengthy statement posted to his Instagram account.

“This movie is a harsh reality check for the men who need to get their sh-t together and take responsibility for themselves and their actions.”

Comments on the statement were turned off, but comments on unrelated posts took the cast to task over the way the film was being promoted.

“Your most recent post is just perpetuating how TONE DEAF this whole cast is (besides Justin). We don’t want to hear you all defend each other. How about apologize and change the way you’re all promoting the movie and talk about the issue – [domestic violence],” wrote one frustrated commenter.

Hoover, in a separate interview with Lively, said she felt that the film had been “faithful” to the story she wrote.

“Trigger warning”

Obbie West, a spoken-word artist and advocate for victims of domestic abuse, said that the framing of the film could wind up being triggering for abuse victims.

“Prior to presentations or prior to trainings, I give trigger warnings, and the trigger warning lets anyone in the room know that this content is going to be very sensitive in nature. That way, if any of it aligns with something they’ve been through and they feel triggered, we identify who are the people in the room that’s qualified to help you,” West said.

Trailers for the film do not include any sort of trigger warnings for content.

“So when you present this movie as a love movie without that precursor, then you have a theater full of people who aren’t aware that they may potentially be triggered.”

West said that in framing the movie as a love story, it could be damaging, particularly to young people who don’t have a healthy frame of reference for love and aren’t as easily able to recognize signs of abuse.

“If this is common practice and we’re constantly presenting love in this way, then for those children who are still developing, it normalizes it and desensitizes them to abuse,” West said.

NEW YORK — Leonard Riggio, a brash, self-styled underdog who transformed the publishing industry by building Barnes & Noble into the country’s most powerful bookseller before his company was overtaken by the rise of Amazon.com, has died at age 83.

Riggio died Tuesday “following a valiant battle with Alzheimer’s disease,” according to a statement issued by his family. He had stepped down as chairman in 2019 after the chain was sold to the hedge fund Elliott Advisors.

“His leadership spanned decades, during which he not only grew the company but also nurtured a culture of innovation and a love for reading,” reads a statement from Barnes & Noble.

Riggio’s near-half century reign began in 1971 when he used a $1.2 million loan to purchase Barnes & Noble’s name and the flagship store on lower Fifth Avenue in Manhattan. He acquired hundreds of new stores over the next 20 years and, in the 1990s, launched what became a nationwide empire of “superstores” that combined a chain’s discount prices and massive capacity with the cozy appeal of couches, reading chairs and cafes.

“Our bookstores were designed to be welcoming as opposed to intimidating,” Riggio told The New York Times in 2016. “These weren’t elitist places. You could go in, get a cup of coffee, sit down and read a book for as long as you like, use the restroom. These were innovations that we had that no one thought was possible.”

He grew up working class in New York City, liked to say he preferred socializing with childhood pals over fellow business leaders and was informal enough among associates to be known as “Lenny.” But in his time no one in the book world was more feared. With the power to make any given book a best seller, or a flop, to alter the market on an idle whim, Riggio could terrify publishers simply by suggesting prices were too high or that he might sign up such top sellers as Stephen King and John Grisham and publish them himself. He even tried to buy the country’s biggest book wholesaler, Ingram, in 1999, but backed off after facing government resistance.

By the end of the 1990s, an estimated one of every eight books sold in the U.S. were purchased through the chain, where front table displays were so valuable that publishers paid thousands of dollars to have their books included. Thousands of independent sellers went out of business even as Riggio insisted that he was expanding the market by opening up in neighborhoods without an existing store. Instead, independent owners spoke of being overwhelmed by competition from both Barnes & Noble and Borders Book Group, the rival chains sometimes setting up stores in close proximity to each other and to the locally owned business.

Barnes & Noble became so identified as an overdog that one of the 1990s’ most popular romantic comedies, “You’ve Got Mail,” starred Tom Hanks as an executive for the “Fox Books” chain and Meg Ryan as the owner of an endangered independent store in Manhattan.

“We are going to seduce them with our square footage, and our discounts, and our deep arm chairs, and our cappuccino,” Hanks’ character confidently declares. “They’re going to hate us at the beginning, but we’ll get ’em in the end.”

Acrimony from independent booksellers

For a time, it seemed industry conversation was an ongoing response to Barnes & Noble. Publishers were known to change the cover or title of a book simply because a Barnes & Noble official had objected. “Angela’s Ashes” author Frank McCourt found himself condemned by the American Booksellers Association, the trade organization for independents, after agreeing to appear in a Barnes & Noble commercial. On the floor of the industry’s annual national trade show, long hosted by the ABA, independent store employees would hiss at attendees wearing Barnes & Noble badges.

When novelist Russell Banks, addressing Barnes & Noble’s annual shareholder meeting in 1995, declared that he was both a stock holder and a happy B&N customer, some independent sellers stopped offering his books.

“You must know that I’ll never read, buy or sell another word you write,” Richard Howorth, owner of Square Books in Oxford, Mississippi, wrote to him. ”These are the kindest things I can think of to say to you.”

Tensions led to legal action when the ABA — on the eve of the 1994 convention — announced it was suing Barnes & Noble and five leading publishers for unfair trade practices. Some of the publishers were so angered they boycotted the gathering the following year and only returned after the ABA sold the show to Reed Exhibitions. In 1998, the ABA sued Barnes & Noble and Borders for unfair business practices (both cases were settled out of court).

The internet shifts bookselling

Riggio began the 2000s at the height of power, with more than 700 superstores and hundreds of others outlets. But internet commerce was growing quickly and Barnes & Noble, with its roots in physical retail, lacked the imagination and flexibility of the startup from Seattle that called itself “Earth’s Biggest Bookstore,” Amazon.com. The online giant launched in 1995 by Jeff Bezos gained business throughout the 2000s and by the early 2010s had displaced Barnes & Noble through such innovations as the Kindle e-book reader and the Amazon Prime subscription service.

Bezos would liken himself to David taking down Goliath, although the contrast between the leaders also had the feel of an Aesop’s fable: The muscular, mustachioed Riggio, a boxer’s son, upended by the quick and clever Bezos.

“We’re great booksellers; we know how to do that,’’ Riggio acknowledged to the Times in 2016. “We weren’t constituted to be a technology company.”

Barnes & Noble started its own online site in the late 1990s, but such initiatives as the Nook e-book reader and a self-publishing platform failed to stop Amazon. Not even the collapse of Borders after the 2008-2009 economic crisis mattered for Barnes & Noble, which after decades of expansion closed more than 100 stores between 2009 and 2019.

An unlikely ally of independent booksellers

By the time of Riggio’s retirement, independent sellers regarded the chain not as a threat, but as an ally in the fight against Amazon to keep physical stores alive. At the 2018 booksellers convention, Riggio and ABA CEO Oren Teicher, once enemies in business and in court, praised each other during a joint appearance.

“My standing here, doing what I’m about to do (introduce Riggio) would have been impossible to imagine several years ago,” Teicher said at the time. “The simple fact is that our business is stronger and American readers benefit when there is a vibrant and healthy network of brick-and-mortar bookshops all across the country.”

During the 2010s, Barnes & Noble seemed unleadable and unwanted. The board announced in 2010 that the company was for sale, but no one offered to buy it. Four CEOs left in five years and Barnes & Noble’s stock dropped 60% between 2015 and 2018. New rumors of a sale lasted for months before Elliott Advisors, which had previously purchased the British chain Waterstones, bought Barnes & Noble for $638 million and hired Waterstones chief executive James Daunt to lead B&N.

“I don’t miss being a business person, I had enough of that. But I do miss the bookselling part, helping to find books to recommend to customers,” Riggio told Publishers Weekly in 2021.

Riggio’s roots and early bookselling ventures

Bookselling and family often overlapped for Riggio. His brother Steve Riggio served for years as vice chairman of Barnes & Noble and another brother, Thomas Riggio, helped run a trucking company that shipped the store’s books. After being interviewed in 1974 by the trade publication College Store Executive, Leonard Riggio met for coffee with the editor, Louise Altavilla, who seven years later became his second wife (Riggio had three children, two with his first wife, one with his second).

Leonard S. Riggio was the eldest son of a prize fighter (who twice defeated Rocky Graziano) turned cab driver and a dress maker. Even in childhood, he advanced quickly, skipping two grades and attending one of the city’s top high schools, Brooklyn Tech. He studied metallurgical engineering at New York University’s night school before focusing on commerce, and by day absorbed the bookselling world and the rising cultural rebellion of the 1960s.

Working as a floor manager at the campus book store, he learned enough to drop out of school and start a rival shop in 1965 — SBX (Student Book Exchange), where he allowed student activists to use the copying machine to print copies of anti-war leaflets. SBX was so successful he bought several other campus stores and was in position by 1971 to buy Barnes & Noble and its single Manhattan store. A few years later, he became the rare bookseller to run television commercials, with the catchphrase “Barnes & Noble! Of Course! Of Course!”

Riggio and the independent community may have seemed to hold opposing values, but they shared a love of reading and the arts and a liberal political outlook. He was a generous philanthropist and a prominent supporter of Democratic politicians. He was even friendly with the consumer activist and presidential candidate Ralph Nader, who featured Riggio, Ted Turner and Yoko Ono among others in his 2009 novel “Only the Super-Rich Can Save Us!”, in which Nader imagines a progressive revolution from above.

“Ever since he was a boy from Brooklyn, he’d had a visceral reaction to the way workings stiffs and the poor were treated on a day-to-day basis,” Nader wrote of Riggio, who did at times stand apart from his management peers. When some 200 business leaders were questioned by Fortune magazine in the 1990s about their political ideas, only Riggio supported the raising of worker pay.

“Money can become a burden, like something you carry on your shoulders,” he told New York magazine in 1999. “My nature is to be a ball-buster, but my role is to help people.”