Nicola Yoon’s best-selling YA novel Everything, Everything has finally hit the big screen, bringing Maddy (Amandla Stenberg) and Olly’s (Nick Robinson) love story to life: The sick teen, allergic to everything and confined to her house, falling in love with the dangerously exciting boy next door.
But what changed between the 2015 book and the 2017 film? Not quite everything everything — but certainly a few things. Here are the differences that caught our eye, but be warned: SPOILERS AHEAD.
Maddy isn’t actually friends with Carla’s daughter.
Rosa exists in the book, but more as a foil to Maddy who’s just mentioned a few times. She’s a typical teen and gives her mother, Maddy’s nurse Carla, the usual parental grief.
Olly doesn’t cover Maddy’s window with photos of the ocean in the book.
But this new scene in the film — Olly bringing the ocean to Maddy because she can’t go see it herself — is so sweet and romantic, it definitely fits well into the story.
Before they go to Hawaii, Maddy and Olly make one stop.
They stay at Carla’s house (even after Carla was fired) because Maddy knows she can trust her.
Maddy’s architecture teacher was a bigger character in the book.
She takes online classes, and shows a particular affinity for architecture (and that cute little astronaut she places in all her models). Even though she and her teacher only communicated virtually, they had a close relationship.
The truth about Maddy’s sickness doesn’t come from a phone call.
In the book, when the doctor who treats Maddy in Hawaii reaches out to her about finding no evidence of severe combined immunodeficiency (SCID), she does it with a letter, not with a phone call. A phone call probably makes more sense — but the letter is a better explanation for why Maddy is home for days before she gets this news.
Text conversations don’t transport Maddy and Olly into her architectural models.
Okay, fine, this is an obvious one. In the film, Maddy and Olly “sit” inside the restaurant she designed, for example, joined by a living, full-sized version of her tiny, plastic astronaut. It’s a fascinating way to translate the book’s drawings and transcripts of texts and emails, which work great on the page, to the big screen without just resorting to onscreen text messages. Otherwise, we’d just be watching two lovestruck teens smiling into their phones — and that’s not exactly compelling cinema.
Everything, Everything fans: Did we miss anything? What changes stood out to you? Let us know in the comments.