Colleen Hoover’s influence over contemporary fiction, especially through her books and the wave of movie adaptations, has generated reactions that can feel as fevered as any modern pop culture phenomenon.
When the film version of “Regretting You” premiered in October 2025, it was met with an avalanche of opinion, one that split sharply along the fan-critic line.
Despite a Rotten Tomatoes score languishing at 17% after its first week, “Regretting You” sold tickets to a loyal audience that poured into theaters, with social media buzzing about emotional scenes and favorite characters.
But the very elements that turn fans into evangelists, messy relationships, shocking reveals, and deeply flawed characters, are often the same points that drive critics to issue scathing reviews.
IndieWire’s review argued the film only appeals to those who appreciate melodrama’s quirks, while The Guardian suggested this latest adaptation might mark the end of Hoover’s big-screen trend.
Still, her most passionate followers (self-titled the “CoHort”) praise Hoover for her “raw” and “emotionally stirring” approach to relationships, tragedy, and self-discovery.
It’s not just the books; audiences report that the films strike chords they rarely get from typical Hollywood offerings, describing theaters filled with people crying, laughing, and sometimes even heckling the screen.
Yet online, debates rage about whether loving Hoover’s work signals poor literary taste or, worse, a lack of critical thinking about the heavy topics she presents. Many readers, even those not converted to the fandom, comment that her stories become social media lightning rods in a way unusual for romance or family drama.
Why Are The Stakes So High?
The core of this fandom frenzy might be that Hoover’s stories almost always center on emotionally loaded, often controversial issues. “ Regretting You ” juggles everything from infidelity and grief to the fallout of parental secrets, playing fast and loose with neat resolutions.
Some critics argue that such formulas court emotional “manipulation,” with tragic twists and trauma deployed less for insight and more for shock value. Others see her writing as deliberately accessible, with relatable characters navigating heightened stakes, a feature that many fans celebrate and most critics find simplistic.
Colleen Hoover (Credit: BBC)
It’s also true that Hoover hasn’t shied away from polarizing storylines. “It Ends With Us” ignited debate over its handling of domestic violence; the subsequent controversy even led Hoover and her publisher to cancel a planned coloring book amid public outcry over insensitivity.
Detractors argue her stories sometimes glamorize or gloss over genuinely harmful relationships, which is especially troubling given her influence over a younger, mostly female readership.
At the same time, her books’ visibility has pushed certain conversations about boundaries, recovery, and agency into the mainstream, both on BookTok and in traditional media.
None of this dampens the commercial success. “It Ends With Us” shattered box office expectations in 2024, grossing over $350 million globally, while Hoover’s books dominate charts year after year.
But with the tepid ticket sales and polarizing response to “Regretting You,” some entertainment insiders are now openly speculating whether Hoover’s Hollywood streak is a passing trend or if her next adaptation, the much-hyped “Verity,” will reset the narrative.
The Backstage Perspective: Director & Stars On Surviving The Hype
For those inside the newest adaptation, the commotion isn’t just a backdrop; it’s part of the experience. Director Josh Boone, who found fame with “The Fault in Our Stars,” was drawn to “Regretting You” because it explores familiar yet complicated territory: fractured families, secrecy, and the way love and loss shape our lives.
Stars like Mckenna Grace and Mason Thames approached their roles with a mix of excitement and wariness, aware that both critics and fans would come in with strong preconceptions.
In interviews, cast members pointed out that the pressure of entering the Hoover universe is real but also thrilling.
Grace, who plays the conflicted daughter, related personally to the intense mother-daughter dynamics in the story, noting that art imitating life means audiences will see parts of themselves in these imperfect characters.
Thames described joining the project as a “no-brainer” after reading the novel and script, saying the emotional highs and lows gave him the most fulfilling work of his young career.
For the creative team, the extremity of reactions feels almost inevitable. Boone told Screen Rant that what excites him, messy, passionate characters struggling with loyalty and loss, also guarantees that no adaptation will ever please everyone.
As Hollywood keeps tabs on the next box office report, the hope inside the production is that the conversation around Hoover’s books and movies keeps going, no matter how intense the debate becomes.
A bold white-and-blue banner streaked across the California skies on October 23, 2025, its message clear: #SaveTheHuntForBenSolo.
Piloted over Disney Studios, this act reflected a groundswell movement echoing the historic #ReleaseTheSnyderCut campaign, which led to Warner Bros. eventually restoring Zack Snyder’s vision for Justice League.
In the same spirit, Star Wars devotees, frustrated by the cancellation of “The Hunt for Ben Solo,” are now making visible, noisy demands for reconsideration. Collider reported on the banner stunt live, interviewing organizer Lianna Al Allaf.
The campaign’s intensity is fanned by recent revelations: just weeks prior, Adam Driver confirmed he and Steven Soderbergh developed a Ben Solo vehicle that Lucasfilm supported, but Disney’s top decision-makers dismissed the pitch, objecting to Ben’s resurrection after his demise in “The Rise of Skywalker”.
Fans point to Star Wars’ notorious history of character resurrections, Palpatine’s cinematic return in “The Rise of Skywalker” being the most recent.
Many argue this established lore opens the door for Ben Solo’s return, with Soderbergh labeling Disney’s decision a first in the saga’s history: it’s reportedly the only time a Star Wars film with a completed script has been rejected by the studio.
The emotional investment and organized tactics, banners, hashtags, and social campaigns mirror the advocacy that pulled Warner Bros. back to Snyder’s cut of Justice League, establishing a new era of fan empowerment in blockbuster filmmaking.
Disney Faces New Pressure: Crisis or Catalyst?
The campaign’s fervor hasn’t gone unnoticed. News outlets and fan platforms warn of a brewing “Star Wars crisis,” where studio and audience priorities visibly clash.
Star Wars (Credit: Jio Hotstar)
The latest turbulence comes at a moment when Star Wars ’ film future is unusually uncertain: after 2019’s “The Rise of Skywalker,” no new feature films are planned for 2025. This content gap, while television and streaming spin-offs thrive, has amplified every decision, fueling a sense of missed opportunity around the Ben Solo project.
Public response to the cancellation has been intense. Soderbergh, the sidelined director, admitted discomfort with keeping the film’s existence a secret, noting Lucasfilm’s own surprise at Disney’s abrupt rejection.
For longtime fans, the move signals unfamiliar creative volatility in a franchise that historically shields completed projects from corporate shelving.
Observers suggest the situation holds long-term implications. Social media chatter increasingly compares Star Wars’ leadership under Disney to past controversies at DC and Marvel, with critics and loyalists trading barbs over creative direction and legacy.
Enthusiasts point out that when the Justice League Snyder Cut campaign succeeded, it wasn’t just a movie win; it was a signal that conglomerate control can be bent by passionate fan coalitions. The Star Wars movement borrows these lessons, leveraging coordinated stunts and digital pressure to try and force Disney’s hand.
Whether the Ben Solo movement will inspire a reversal remains to be seen. In the near term, the franchise is far from dormant, with “Star Wars: Visions” Volume 3 scheduled to drop on October 29 and the much-hyped “The Mandalorian and Grogu” film due next year.
Still, the absence of headline-making cinematic entries for 2025 stokes discontent and lends the movement extra spotlight.
Industry analysts describe a precarious moment for Disney . While they can point to a slate of television, games, and publishing spinoffs to argue the franchise remains vital, the growing “grassroots” activism underscores a breakdown in communication and trust between corporate stewards and the ever-vocal Star Wars base.
Complicating matters further are cryptic social posts from Sharmeen Obaid-Chinoy, director of the next Rey-led film. Her recent hints have kept speculation high, suggesting the upshot of this movement could still shape what’s next for Ben Solo or Kylo Ren.
For now, the Star Wars saga is, in effect, experiencing its Snyder Cut moment, caught between brand protection and fan-driven vision. Past precedent shows these campaigns can, occasionally, succeed.
Even if “The Hunt for Ben Solo” never hits screens, the movement is already impacting how the story of Star Wars and its audience’s influence is written.
