WARNING: Spoilers to follow!  

Ah, Hollywood. The land where every movie can become a platform for the “message of the moment.” And this time, the screenwriter of “It Ends with Us” decided that the world needed a pro-abortion spin on Colleen Hoover’s beloved novel. Because why just adapt a bestseller when you can add a side of politics that no one asked for? 

The screenplay version of the book, “It Ends With Us,” follows the life of Lily Bloom, who is in an abusive marriage with her husband, Ryle. Her life takes a turn when her first love, Atlas Corrigan, unexpectedly enters her life, and her marriage to Ryle falls apart. It’s a story of self-discovery, courage, and choosing life in difficult circumstances.  

However, the screenwriter Christy Hall couldn’t resist adding a pro-abortion line to scratch the toxic feminist itch. Hall told People about “modernizing” the story, recalling how she changed the scene from the original one when Bloom finds out she’s pregnant.  

“In the book, the way the pregnancy is talked about, it’s talked about in a way where everyone is just automatically assuming that she’s going to have it and she’s going to keep it,” said Hall. “It’s already automatic the way that Atlas talks about it, the way that Ryle talks about it, the way that even Lily thinks about it.” 

I mean, really, who needs a faithful adaptation when you can inject a heavy-handed agenda into a story that originally had nothing to do with abortion? 

 It’s almost as if there’s an unspoken rule in Hollywood: “If it’s not woke, it’s broke.”  

And in this case, “woke” apparently means reinterpreting a story about love, loss, and resilience into a vehicle for pushing an abortion narrative. 

But here’s where it gets downright laughable: the screenwriter is bragging about adding a “pro-choice throwaway” line. It’s a line that’s not just out of place but downright ironic, considering the entire movie is essentially pro-life. Let’s not forget that the story, at its core, showcases a woman who becomes a single mom and chooses life for her child amidst extremely tough circumstances. 

And guess what? That child becomes a blessing in her life! 

It’s almost like the screenwriter forgot to read the book before slapping on her “creative” addition. Suppose she had contemplated the book more carefully. In that case, she might’ve realized that her token pro-abortion line sticks out like a sore thumb in a narrative that’s all about choosing life, embracing challenges, and ultimately finding joy in the unexpected. 

And if that wasn’t ridiculous enough, Hall said it was somehow “wrong” for the book to assume that a married woman would keep her child without exploring her “options.”  

Clearly, in Hollywood’s world, the idea that a married woman might naturally embrace motherhood without considering abortion, even when life gets tough, is just too far-fetched. 

So, bravo, Hollywood. You’ve done it again. You’ve taken an outstanding story, twisted it to fit your narrative, and completely missed the mark in the process. 

Next time, try sticking to the source material. Your audience—and the story—might actually appreciate it.

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