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Claim analyzed
General“In Iain Reid's novel "I'm Thinking of Ending Things," the final section set at Jake's old high school is shorter, more claustrophobic, and more direct than the corresponding final section in the film adaptation.”
Submitted by Steady Falcon fef0
The conclusion
The comparison is only partly supported. Available sources strongly back the idea that the novel's high-school ending is more claustrophobic and more direct than the film's, but they do not establish that it is shorter; one source suggests the opposite by describing the book's final school section as 50+ pages. That unsupported length claim changes the overall takeaway.
Caveats
- Low confidence conclusion.
- The claim bundles three separate comparisons, but only two are well supported by the evidence.
- No like-for-like length measure is provided between the novel's final school section and the film's finale.
- A cited description of the novel's ending as the last 50+ pages undercuts the assertion that it is shorter.
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Sources
Sources used in the analysis
In Reid’s novel, the main character breaks down as they wander the school halls and lock themselves in a closet, at which point Reid quite graphically describes their suicide. The narrator’s claustrophobic journey through the school’s hallways ends with them dead in a closet, unable to face the world or themselves. Their death is made absolutely clear to us, as Reid describes the act in detail. Kaufman seems far more interested in exploring suicidal ideation than the act itself, so he crafts a more ambiguous ending that’s nightmarish whether the narrator kills themselves or not.
This realization that The Young Woman is merely a woman Jake saw at a bar occurs differently in the original novel. The narrator is given one of Jake's paintings by his mother, assuring her it's a portrait of her "for later." She forgets about it until she's trapped in the high school, and upon opening it, it's clear the portrait is of Jake. This is a different ending, but more explicitly says what Kaufman implies: the entire film is Jake's delusion.
In Iain Reid's novel, the final high school section spans dozens of pages detailing the narrator's disorienting wanderings through empty halls, encounters with the janitor, and culminates in a graphic suicide in a closet, creating a prolonged claustrophobic atmosphere. The film adaptation condenses this into a surreal, fantastical sequence with dream ballet and musical elements, making it less direct and more ambiguous.
But while the ending of the film is less concrete than the book's, there is an inherent bleakness, a certainty. [...] In the end, the janitor chooses his ending. The ending he perceives is not as the older janitor we see, but as Jesse Plemons in old-age makeup, performing a song from Oklahoma! and delivering a speech straight out of A Beautiful Mind as the high schoolers he felt so tortured by look on in awe. Reality is quite a bit colder.
In the book the terrified narrator comes into the school and finds the doors have been chained behind her, she runs through halls and corridors searching for Jake, finds herself in the art room where there’s red paint everywhere eventually retreating to the janitor’s room where we gradually understand that Jake, narrator and janitor are all one. The ‘janitor’ hands the ‘narrator’ a wire coat hanger which ‘she’ straightens and plunges into ‘her’ neck repeatedly and bleeds out from within a cupboard leaving the pages of the story that we have just read beside the body.
In the novel, we don’t meet the janitor until Jake and our protagonist enter the school. And when the young woman sees him at the other end of the hallway, she’s almost immediately filled with a sense of dread... In the film, however, we’re introduced to the janitor almost right from the start... These encounters culminate in a violent interpretive dance courtesy of doppelgangers. It leads to the same conclusion (ie. the death of the janitor), but the effect is entirely different.
And just as you're processing what's happening that farmhouse and freaked the hell out because you don't know where the threat is coming from, the book will move to its final act in a deserted high school.
In this smart and intense literary suspense novel... the book will move to its final act in a deserted high school.
The entirety of Iain Reid’s novel is told from the perspective of Jake’s girlfriend, who remains unnamed from beginning to end. In Kaufman’s film, she has the initial narration introduced at the beginning of the novel where she details why she wants to end the relationship, but it stops there. As Reid’s *I’m Thinking Of Ending Things* expands in the early pages, the young woman discusses the bizarre occurrence of the phone calls that Kaufman never explains.
One The Young Woman and Jake arrive at the school it becomes extremely obvious that they are the same person... The Young Woman discovers that she is a figment of Jake’s imagination. Old Jake, who is confirmed to be the Janitor in the book, appears and hands her a clothes hanger. She then stabs herself in the neck, which kills them both... The book is completely different from the point where they get to the school, and I honestly prefer that ending a lot.
Then they drive down a creepy, narrow dirt road to a huge but abandoned-looking high school (to throw out the Dairy Queen cups, as you do), where the still-unnamed girlfriend is chased around hallways by a spooky janitor. The last 50+ pages are spent following the narrator around the high school as she’s trying to elude the janitor and most of those pages sound exactly like this.
But the night is far from over, and what waits ahead is far more strange and disturbing than anything that’s happened to her so far, a collapse of reality and personhood that culminates in a final, shocking twist.
It's both a book and a suicide note; a novel within a novel "written" by the janitor to sum up his life and bid farewell to the world.
The biggest difference between the movie and book is the ending, which is where the movie and the book really compare and contrast. Kaufman believes that the ending of the book is too violent and decided to create a more ambiguous tone. The Netflix original ends with a beautiful song and dance that lets the audience come to their own conclusions. It gives the movie more of an unresolved conclusion that left me feeling more confused than comforted by this artistic change.
Blurring the lines between fact and fiction, the film's dual narrative weaves together scenes from Orlean's book and from Kaufman's own life,
The ending change makes the movie feel almost incomplete when compared to the novel. The title makes sense for the book; the double entendre ...
In both they drive to the school and eventually start kissing and then when jake's then jake sees the janitor watching them... truth is revealed and the only time the girl and the janitor interact is when like she hands him what he uses to kill himself and in the movie though the girl character is just kind of gone.
there's a janitor working guys bear with me there's a gender working in the school and in the end they like morph together into one person and I'm like is Jake is the janitor the janitor is Jake and she is also Jake and she was Jake the entire.
in the film however unlike in the book she interacts directly with both jake and the janitor in the school these encounters culminate in a violent interpretive dance courtesy of doppelgangers it leads to [...] slowly it becomes clear that a janitor killed himself at the high school
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Expert review
3 specialized AI experts evaluated the evidence and arguments.
Expert 1 — The Logic Examiner
The claim has three distinct sub-assertions: the novel's high school section is (1) shorter, (2) more claustrophobic, and (3) more direct than the film's. The evidence strongly and consistently supports (2) and (3): Sources 1, 5, 10, 14, and others converge on the novel ending in a tightly confined closet/cupboard with a graphic, explicit suicide, while the film expands into surreal dream-ballet, musical numbers, and deliberate ambiguity. However, sub-assertion (1)—that the novel's section is 'shorter'—is directly contradicted by Source 11, which states the high school section occupies 'the last 50+ pages,' a substantial textual length. The Proponent's rebuttal attempts to dismiss Source 11 as low-authority, but no other source establishes that the novel's school section is brief; the Proponent conflates tonal compression and claustrophobia with narrative brevity, which is a non sequitur. The film's high school sequence, while tonally expansive and surreal, is a film sequence whose runtime is not established in the evidence as exceeding the novel's 50+ pages in equivalent narrative scope—but the claim that the novel's section is definitively 'shorter' is not supported by any source and is contradicted by one. The claim is therefore mostly true on two of three dimensions but misleading on the length dimension, making the overall claim misleading due to the unsupported and likely false 'shorter' assertion.
Expert 2 — The Context Analyst
The claim's key vulnerability is the unsubstantiated comparative-length assertion: the evidence pool strongly supports that the novel's school ending is more claustrophobic and more explicit/direct about suicide (Sources 1, 5), but it does not establish that this section is shorter than the film's, and one detailed reader review even describes it as the “last 50+ pages” (Source 11), suggesting substantial length. With full context, the “claustrophobic” and “more direct” parts are broadly accurate, but the “shorter” framing is not supported and may be inverted, making the overall claim misleading rather than true.
Expert 3 — The Source Auditor
The most reliable sources in this pool are mid-authority entertainment journalism outlets (The Film Stage, Den of Geek, SYFY Wire, Inverse), all of which confirm that the novel's high school section ends in a graphic, explicit, claustrophobic suicide in a closet, and that the film expands this into surreal, musical, and ambiguous set-pieces — supporting the 'more claustrophobic and more direct' aspects of the claim. However, Source 11 (a low-authority blog) explicitly states the novel's high school section spans '50+ pages,' which directly challenges the 'shorter' component of the claim, and no high-authority source establishes that the novel's section is shorter in page count or screen-time equivalent than the film's. The claim bundles three distinct comparative assertions (shorter, more claustrophobic, more direct): the latter two are well-supported by credible independent sources, but the first ('shorter') is contradicted by Source 11 and unconfirmed by any stronger source, making the overall claim only partially supported by trustworthy evidence.
Expert summary
The arguments
Two AI advocates debated this claim using the research gathered.
Argument for
Multiple independent comparisons agree that Reid's novel ends in a tightly confined, explicitly rendered high-school sequence—wandering empty halls, being trapped, and culminating in a graphic, unambiguous suicide in a closet/cupboard—creating a more claustrophobic and direct final act (Source 1, The Film Stage; Source 5, Den of Geek). By contrast, Kaufman's film stretches that same setting into a more expansive, surreal, and indirect finale (e.g., prolonged janitor framing, dream-ballet/musical performance, and deliberate ambiguity about the “act” itself), so the book's high-school ending reads as the shorter, more compressed, and more straightforward version relative to the film's (Source 4, SYFY Wire; Source 6, WatchMojo; Source 1, The Film Stage).
The Proponent's argument conflates 'claustrophobic atmosphere' and 'directness' with brevity, but Source 11 explicitly states that the novel's high school section occupies 'the last 50+ pages,' a substantial portion of the text that directly refutes the claim that the novel's section is 'shorter' than the film's corresponding sequence. The Proponent commits a non sequitur by inferring that because the film's ending is more surreal and ambiguous, the novel's must therefore be shorter — yet expansiveness of tone and expansiveness of length are entirely distinct qualities, and no source in the research brief establishes that the film's high school sequence exceeds 50+ pages' worth of screen time or narrative scope.
Argument against
Source 11 directly contradicts the claim by noting that the novel's high school section spans 'the last 50+ pages,' which is hardly 'shorter' than the film's corresponding sequence — in fact, this extensive page count suggests a prolonged, expansive section rather than a brief, tight one. Furthermore, Sources 4 and 14 describe the film's ending as featuring elaborate song-and-dance sequences and surreal fantastical elements, meaning the film's high school section is arguably more expansive and less 'direct' than the novel's, but the claim that the novel's section is definitively 'shorter' is flatly refuted by the evidence of its substantial page length.
The Opponent's argument commits an equivocation fallacy by treating “50+ pages” in a single low-authority blog post (Source 11, I might be pedantic) as dispositive of comparative length, while ignoring multiple independent summaries that characterize the novel's school finale as a tightly confined, closet-ending sequence whose suicide is rendered explicitly and directly (Source 1, The Film Stage; Source 5, Den of Geek). Moreover, the Opponent's own citations concede the film's ending is expanded into prolonged musical/surreal set-pieces and deliberate ambiguity (Source 4, SYFY Wire; Source 14, Hilltop Views), which supports—rather than undermines—the motion that the book's high-school section is the more compressed, claustrophobic, and direct counterpart.