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If you devoured Freida McFadden's The Housemaid's Secret and loved the twists, manipulations, and dark revelations, you're probably wondering what to expect from the upcoming film adaptation. The good news: director Paul Feig and Sydney Sweeney are returning after the first film's $145 million box office success. The complicated news: the first Housemaid movie already proved these filmmakers aren't afraid to make significant changes to the source material.
Book readers need to prepare for both familiar story beats and unexpected departures that could transform Millie's second dangerous mission into something entirely different from the page.
Before diving into what The Housemaid's Secret might change, understanding how the first film approached adaptation provides crucial context. Director Paul Feig told The Direct he "expanded the ending" significantly, explaining that "the book ends very satisfyingly for a book, but not satisfyingly enough for a movie."
Feig's philosophy centers on making material work cinematically. He explained to Rolling Stone that "things that work in a book are really great, kind of psychologically on the page, but if they got it on screen, sometimes it might not be dynamic enough. So it's really figuring out where we can up the stakes to make it fun on the screen."
The most significant change involved adding "a whole ending that's not in the book," according to Feig's interview with Clutch Points. He revealed that author Freida McFadden herself loved the changes and "said she wished she had done that in the actual book."
Feig told The Direct that "what Millie is sort of made to do up in the attic worked in the book, but it wasn't harsh enough for the movie screen in order to get the audience blood thirsty enough." This philosophy reveals the creative team's willingness to prioritize cinematic impact over strict fidelity to source material.
The first film also changed other details. Millie's accent from the book was dropped entirely. Sydney Sweeney told The Hollywood Reporter that Paul "didn't want to have an accent for the character; little tweaks here and there."
These weren't massive alterations individually, but together they demonstrate the filmmakers' comfort with making adjustments they believe serve the story better. Brandon Sklenar, who played Andrew Winchester, told ScreenRant he wanted to "turn certain elements up to 11" to give book readers "something they may not expect."
This balanced approach will likely continue with The Housemaid's Secret. Expect the core plot and major twists to remain, but anticipate significant changes to how events unfold and conclude.
Despite the willingness to change endings, the fundamental story of The Housemaid's Secret will almost certainly remain recognizable to book readers. The novel follows Millie Calloway about a year after the Winchester events, now studying social work and dating a stable lawyer named Brock.
Millie takes a job with Douglas and Wendy Garrick, a wealthy couple living in a luxury Manhattan penthouse. Douglas presents his wife as ill and confined to the guest bedroom. As Millie begins working, she observes suspicious behaviors: Wendy spending most of her time locked in the bedroom, occasional sounds of violence, blood in the bathroom.
Millie's past experience with Nina Winchester makes her hyper-aware of abuse dynamics. When she finally confronts Wendy and sees bruises on her face, Millie becomes convinced she's witnessing another case of domestic violence. Given her criminal record from defending a friend against sexual assault, Millie feels compelled to help Wendy escape Douglas's control.
This setup works perfectly for cinema. The confined penthouse setting provides claustrophobic tension. The mystery of what's happening behind the bedroom door creates suspense. Millie's determination to save Wendy, informed by her traumatic Winchester experience, gives her character arc clear motivation.
The film will almost certainly preserve these elements because they're what make the story work. Where changes might occur is in execution, pacing, and the reveal of what's actually happening in the Garrick household.
Here's where things get interesting for book readers. The Housemaid's Secret contains one of McFadden's most elaborate plot twists, and while the film might preserve the basic reveal, expect significant alterations to how it unfolds.
Without spoiling for those who haven't read the book, the story involves layers of deception, false identities, and elaborate manipulation that rivals anything in the first novel. The revelation completely recontextualizes everything Millie has experienced and observed.
However, the first film demonstrated that Feig prefers more active, violent climaxes than McFadden's books typically provide. Where the novel might resolve tensions through revelation and psychological maneuvering, the film will likely include more physical confrontation and visceral danger.
Book readers should also prepare for timeline compression. The novel unfolds over weeks, with Millie making multiple visits to the Garrick apartment and slowly piecing together the situation. Films require tighter timeframes for narrative momentum. Expect events to happen more quickly, with less time between key developments.
The film might also add sequences not present in the book to maintain visual interest and tension. The first Housemaid film added expanded confrontation scenes and amplified the physical danger Millie faced. The sequel will likely follow this pattern, creating new moments of jeopardy that don't exist on the page.
Feig told The Hollywood Reporter he loves getting to "screw with the audience, in a fun way." He specifically noted that "we added a new ending, so the people who love the book you get more." Expect him to find opportunities to surprise even readers who know the book's secrets.
One of the most significant confirmed changes involves Michele Morrone's character, Enzo. In the first film, Enzo was the Winchester groundskeeper who helped Nina escape. In McFadden's The Housemaid's Secret novel, Enzo plays only a minor role, appearing briefly when Millie needs an alibi and some investigative help.
Lionsgate has confirmed Morrone will reprise his role, suggesting substantial expansion of Enzo's character beyond the book's limited use. This makes commercial sense given Morrone's international appeal, but it fundamentally alters the story's dynamics.
In the book, Millie operates largely alone, with her boyfriend Brock providing stability but limited involvement in the dangerous situation. If Enzo becomes Millie's partner or confidant throughout the Garrick mission, it shifts the narrative from a solitary investigation to a team effort.
This change could actually improve certain aspects of the story. Enzo's presence provides someone for Millie to confide in, allowing for dialogue that externalizes her thought process rather than relying on internal monologue or voice-over narration. His experience helping Nina escape abusive situations makes him a logical ally in helping Wendy.
However, it also risks diluting Millie's agency and decision-making. Part of what makes the book compelling is watching Millie navigate moral quandaries and dangerous situations alone, relying on her wits and determination. Too much Enzo could transform her from active protagonist to shared lead.
Book readers should expect Enzo to appear far more frequently than in the novel, possibly even working directly with Millie on investigating the Garricks or planning Wendy's escape.
The novel features Millie's relationship with Brock, her lawyer boyfriend, as a significant subplot. Brock represents stability and normalcy, a potential path away from the dangerous missions Millie finds herself drawn to. Their relationship faces strain as Millie becomes increasingly consumed by the Garrick situation.
How the film handles Brock will reveal a lot about its priorities. If the filmmakers want to emphasize Millie's isolation and singular focus on helping abuse victims, they might minimize Brock's role or eliminate him entirely. This would allow more screen time for the central mystery and Millie's investigation.
Alternatively, Brock could become more prominent, providing stakes beyond Millie's immediate danger. His disapproval of Millie's risky choices could create interpersonal conflict that balances the thriller elements. His legal expertise might even prove useful in navigating the dangerous aftermath of events.
The first film didn't include Brock because the novel's timeline didn't accommodate him. The Housemaid's Secret specifically features this relationship, so his inclusion seems likely. However, expect his character to be streamlined, with less nuance than the book provides.
Given Hollywood's tendency to simplify supporting characters, Brock might become more straightforwardly supportive or straightforwardly disapproving, losing some of the complexity that makes him interesting on the page.
One advantage film has over the novel is the ability to showcase the Garrick penthouse in all its luxurious, unsettling glory. McFadden describes the apartment as an Upper West Side luxury residence with stunning views and expensive furnishings, but film can bring this setting to life with production design that emphasizes the wealth disparity between Millie and her employers.
Expect the film to make the penthouse a character in itself. The first Housemaid movie used the Winchester estate brilliantly, with its sprawling grounds, imposing architecture, and that terrifying attic room creating gothic atmosphere. The sequel will likely employ similar visual strategies with the urban setting.
The contrast between Millie's modest accommodations and the Garricks' opulent lifestyle could be emphasized more strongly than in the book. The locked guest bedroom where Wendy stays will undoubtedly receive careful production design attention, becoming a physical manifestation of her supposed captivity.
Manhattan itself offers cinematic opportunities the book can only describe. Establishing shots of the city, street scenes as Millie travels to and from work, the cultural landmarks that mark this as a distinctly New York story will all add visual texture absent from the page.
This might also mean adding scenes set outside the penthouse that don't exist in the book. The first film added sequences that expanded the world beyond the Winchester estate. The sequel could follow this pattern, showing more of Millie's life between her visits to the Garricks.
Amanda Seyfried's enthusiastic comments about wanting to cameo in The Housemaid's Secret creates both opportunity and challenge for the filmmakers. In McFadden's novel, Nina plays virtually no role. She's moved to California with her daughter and exists only in backstory and brief references.
However, the film could easily add Nina without contradicting the book's plot. A phone call between Nina and Millie could provide emotional resonance, reminding audiences of their shared trauma while establishing why Millie feels compelled to help other abuse victims.
Flashback sequences showing Nina mentoring Millie after the Winchester events could add depth to Millie's character development. These scenes would exist outside the book's timeline but wouldn't contradict anything that happens in the novel.
The film's opening or closing could feature Nina, perhaps showing her reaction to learning about Millie's latest dangerous mission or celebrating Millie's success afterward. This would provide franchise continuity without requiring substantial changes to the core story.
For book readers, Nina's potential appearance represents the biggest unknown. The novel doesn't include her, so any Nina content will be entirely original to the film. Whether this enhances or distracts from the story remains to be seen.
Based on Paul Feig's comments about expanding the first film's ending, book readers should absolutely expect significant changes to how The Housemaid's Secret concludes. Feig told Clutch Points that he finds it necessary to make endings more satisfying for cinema: "There's things that work in the book that are really satisfying, but on the big screen you always want more."
Without spoiling the book's conclusion, it involves revelations, reversals, and resolution that happen largely through dialogue and character decision-making rather than physical action. This works perfectly in prose but could feel anti-climactic on screen according to Feig's adaptation philosophy.
Expect the film to add a more action-oriented climax. The first movie transformed certain confrontations into more visceral, violent encounters. The sequel will likely make similar changes, adding physical danger and confrontation that amplifies the stakes.
The novel's epilogue provides closure and sets up future installments. The film might alter this, either to create a more definitive ending or to tease a different direction for potential third and fourth films.
Book readers familiar with McFadden's twisty plotting know the final chapters of The Housemaid's Secret contain multiple revelations that recontextualize the entire story. The film will almost certainly preserve these twists but might change the order in which they're revealed or add new surprises for readers who think they know how everything unfolds.
Feig acknowledged to Clutch Points that making a sequel brings its own pressures. When discussing The Housemaid's Secret, he said "I mean, the second book is really fun. So, beyond doing whatever fixes we want to do to make it more cinematic and all that, I think it'd be really fun."
The word "fixes" is telling. Feig approaches adaptation not as preservation but as transformation. He identifies what works on the page, then reimagines it for maximum cinematic effect.
His previous sequel experience with A Simple Favor 2 (released in May 2025) demonstrated this approach. While that film received mixed reviews, it showed Feig's commitment to maintaining franchise identity while finding new narrative directions.
For The Housemaid's Secret, this means book readers should expect him to preserve the psychological complexity and shocking revelations while ramping up the physical stakes, visual spectacle, and visceral thrills.
As someone who has followed countless book-to-film adaptations, my advice to Housemaid's Secret readers is simple: embrace the changes rather than resisting them. The first film demonstrated that Feig and his team understand what makes McFadden's stories compelling while recognizing that different mediums require different approaches.
The core appeal of The Housemaid's Secret lies in its psychological manipulation, the unreliable narrative perspective, and the shocking revelations about what's really happening in the Garrick household. These elements translate well to film and will almost certainly remain intact.
What will change is execution. More violence, more visual spectacle, more active confrontation. These aren't betrayals of the source material but adaptations to cinematic language. Film audiences expect different pacing and resolution than book readers.
I'm actually excited about Enzo's expanded role. While it deviates from the novel, Michele Morrone's chemistry with Sydney Sweeney could elevate the material. Their dynamic might provide emotional stakes and interpersonal tension that enriches the story rather than diminishing it.
The potential Nina Winchester cameo similarly represents opportunity rather than threat. Amanda Seyfried's performance was the first film's standout element. If the filmmakers find a way to include her that serves the story, book readers should welcome it as bonus content rather than unwelcome intrusion.
My main concern is whether the film will preserve the novel's psychological complexity. The Housemaid's Secret works because it forces readers to question their assumptions about victimhood, manipulation, and moral responsibility. If the film simplifies these themes in pursuit of thriller thrills, it might lose what makes the book special.
However, Feig has earned benefit of the doubt. The first film maintained surprising nuance despite its heightened violence. Sydney Sweeney's producing involvement suggests she'll fight to preserve character depth. Screenwriter Rebecca Sonnenshine adapted the first book skillfully, balancing commercial appeal with thematic substance.
I expect The Housemaid's Secret to earn similar critical reception to the first film, which holds 73 percent on Rotten Tomatoes from critics. The box office might not match the original's performance (which has earned $145 million worldwide and is projected to finish between $210 million and $260 million), but $100-120 million globally seems realistic for a sequel.
Book readers will likely have mixed reactions. Some will appreciate seeing Millie's second mission brought to life, enjoying the expanded action and visual spectacle. Others will lament changes to favorite moments or character dynamics that don't translate exactly as imagined.
Both reactions are valid. The film will be a different experience than the book, by design. That doesn't make it better or worse, just different.
Rather than worrying about specific changes, book readers should focus on whether the film captures what makes The Housemaid's Secret special: the slow-burning suspense, the moral ambiguity, the shocking revelations that force you to reconsider everything you've witnessed.
If Feig preserves Millie's complexity as a character willing to bend rules and risk everything to help abuse victims, the film succeeds. If Sweeney brings the same commitment to Millie's evolution that she brought to the first film, the adaptation works.
If the film makes audiences question who the real victims and villains are, if it delivers genuine surprises even to readers who know the book's secrets, if it earns its emotional moments rather than manufacturing them, then specific plot changes become irrelevant.
The first Housemaid film proved this creative team understands McFadden's voice while knowing how to translate it to cinema. They respect the source material enough to preserve what matters while having the confidence to make changes that serve the medium.
Book readers should approach The Housemaid's Secret as a companion to the novel rather than a replacement. Read the book first to experience McFadden's brilliant plotting and psychological insight. Then watch the film to see those ideas transformed into visual storytelling with different strengths and emphases.
The best adaptations don't simply recreate what's on the page. They find cinematic equivalents for literary techniques, transform internal character work into external drama, and create experiences that honor the source while standing as independent works of art.
If The Housemaid's Secret achieves this balance, book readers and newcomers alike will walk away satisfied, even if the journey to that satisfaction looks different than what McFadden originally envisioned.
Book readers should expect The Housemaid's Secret film to preserve the novel's core story, main characters, and shocking twists while making significant changes to pacing, action sequences, and the ending. Enzo will play a much larger role than in the book. Nina Winchester might appear in scenes that don't exist in the novel. The climax will likely be more violent and physically intense than McFadden's version.
These changes aren't betrayals but adaptations. Paul Feig has proven he can honor source material while making it work for cinema. Sydney Sweeney's producing role ensures the character of Millie remains central and complex. The creative team that turned the first Housemaid into a $145 million hit knows what they're doing.
Prepare for differences. Embrace them. Trust that the filmmakers understand why you loved the book and are working to translate that love into a different medium. The result might not match your imagination exactly, but if it captures the spirit of McFadden's twisty, morally complex thriller, that's enough.
When The Housemaid's Secret arrives in late 2026 or 2027, go in with open minds. Let the film be its own thing while appreciating how it connects to the book you devoured. The best adaptations create conversations between page and screen, each version illuminating different aspects of the story.
That conversation is about to get very interesting.