New information has come to light in Sofía Vergara’s legal battle with ex-fiancé Nick Loeb that has cast a troubling light on an already tumultuous case. A letter allegedly written by Loeb has surfaced, according to Page Six, wherein details of (among other things) Loeb’s distaste for Vergara speaking Spanish are discussed.
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Vergara and Loeb are currently fighting over whether or not to bring the two embryos the couple had frozen a few years ago to term. While Vergara, who separated from Loeb in 2014, is adamant about not bringing those embryos to term, Loeb feels differently about the matter. Loeb has reportedly named the embryos Emma and Isabella and is fighting to bring those unborn lives into the world.
Now, this alleged letter written by Loeb could severely impact his case to bring those embryos to term. The letter is apparently part of both parties’ long discussions about what to do with the embryos in question. However, there are also damning comments from Loeb regarding Vergara speaking Spanish in his presence. “What I do not like and what I will not put up with anymore is the Spanish, and no I do not like hanging out with you when you speak in Spanish with others at the table,” Loeb allegedly wrote. “Not only is it rude and disrespectful, it is classless. And for you to then berate, embarrass and humiliate me in front of others when I ask you to stop is not happening anymore.”
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Perhaps it’s because we are experiencing a rise in film and television that is conscious of both potential domestic discord or abuse (like Big Little Lies) as well as legal battles mired in moral complications (think most crime procedurals, like Law & Order: SVU) that it’s difficult not to focus on this development in Vergara’s case. Her battle against an ex-fiancé who wants to bring embryos to term despite allegedly remaining firm in not wanting to follow through is worrisome enough. Add to this the stress of weightiness of a newly released letter which paints Vergara as not only a monster — there are descriptions from Loeb which depict her as prone to shouting and banging on doors — but as a woman simultaneously reprimanded for speaking in her native tongue, and it’s tough not to wonder whether this is coming straight from a scripted television show.
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For Vergara, this lawsuit is painfully real and despite her work in film and television, it is possible to imagine that she has never found herself in this situation before, fictional or otherwise. This letter is terribly demeaning to Vergara’s character; considering the public knows Vergara as a vivacious, kind and warm person, Loeb’s descriptions of her seem unfathomable.
One can only hope that this lawsuit is brought to a swift close and a resolution is found that can honor Vergara’s wishes. Unlike the melodrama of television plots that pan out wildly, this story deserves to have a sane and safe conclusion.
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