Why Colleen Hoover Told Sony She Felt Uncomfortable About Justin Baldoni Attending the Premiere

In July 2024, months before lawsuits and headlines, Colleen Hoover sent a private email to senior executives at Sony Pictures. The message, revealed in court filings in 2026, addressed one question that had begun to dominate behind-the-scenes discussions on It Ends With Us: should director and rights holder Justin Baldoni attend the premiere if lead actress Blake Lively chose not to?

The email does not read like a warning about misconduct. It reads like a document shaped by tension over credit, control, and who would stand where when the cameras rolled.

What Hoover tells Sony about the conflict

Hoover opens by stressing support for the film and gratitude for the work done. She then explains why she wants future discussions in writing, citing confusion and mixed messages. She addresses a separate issue around a promotional book, denying she had it pulled and explaining she refused to promote a version she believed differed from what she approved.

When the subject turns to the premiere, Hoover says she feels pushed into making decisions she never wanted to own. She describes herself as a scapegoat and says others appear to rely on her to deliver hard news to Wayfarer. She admits she would feel uncomfortable if Baldoni attended, yet she makes clear that her own comfort comes second. She does not accuse him of wrongdoing. She does not describe a hostile set. She focuses on pressure and positioning.

Why Hoover links Lively’s hesitation to credit

The most striking passage explains why Hoover understands if Lively skips the premiere. She writes that, in Lively’s place, she might struggle to watch someone else accept credit and accolades for work that required major effort from her as well. Hoover frames the moment as emotional and professional.

That explanation stands on recognition, not safety. Hoover does not mention harassment, coercion, or abuse. She does not suggest that Baldoni’s presence would endanger anyone. Her empathy rests on the idea of shared labor and who receives praise when a project reaches the spotlight.

What the email suggests about power and timing

Hoover repeatedly signals caution. She asks for email-only contact. She promises to speak positively in public regardless of private strain. She avoids taking ownership of Sony’s final call on attendance. Those choices point to reputation management during a volatile rollout.

Read in sequence, the email shows how the dispute looked before formal complaints reshaped the story. It presents a clash over authorship, leverage, and optics inside a major studio release. It does not document sexual harassment. That gap does not decide later claims, but it explains why this email now sits at the center of debate. It captures a moment when the fight appeared to be about who held the film, who shaped it, and who would receive the applause.