We have lots of sites commenting on the new Wuthering Heights trailer today. The tide seems to be turning.
From Vulture: 'Sorry, But These Wuthering Heights Trailers Rule'. I hope the Wuthering Heights trailers never stop dropping. I hope they keep dropping even after the movie comes out in February. They should cut new ones through all of 2026 and into the following year, ahead of what I can only imagine will be the inevitable release of 2027’s 2 Wuthering 2 Furious. And I hope we never stop arguing about them. In a few short years, Emerald Fennell has somehow managed to become one of our more controversial directors, and the fact that she’s made an adaptation of one of the most beloved (and adapted) literary works of all time has clearly driven everybody insane. This is mostly a good thing. More movies should be driving us insane. The latest Wuthering Heights trailer appears to be a slight corrective to (or maybe, more accurately, an expansion of) the previous one, which emphasized the symbolic, sensuous, slimy, psychosexual elements of Fennell’s adaptation of Emily Brontë’s novel. That was the one with all the extreme close-ups of kneading dough and gooey eggs and fingers in fish and people crawling on the floor with their tongues hanging out. It also came on the heels of some still-unfounded but wonderful rumors of outraged early test screenings filled with terminal ejaculations and fondle-some nuns. The new one takes a step back to remind us that this will, indeed, be a literate and swooning adaptation of “the greatest love story of all time” [maybe sic, more on that in a bit] and it’s heavier on the big dresses and the grasping hands and ornate interiors. But it’s no less stylized; Emerald Fennell learned at the feet of Joe Wright, and we should never forget that. There are impeccably framed weddings and bounteous dinner tables and windswept vistas and rumbling skies. Margot Robbie becomes a doll grasped and pushed by a giant hand. Jacob Elordi rides against a Searchers-red sunset. Everybody licks the big pink flesh wall. Sure, it’s all just marketing, designed to hit various segments of the allegedly dwindling moviegoing population in a desperate effort to convince them to sulk away from the true crime and the Real Housewives and the bad comedy and lug their butts to the movie theater. The first trailer was for the degenerates (me) and this new one is for the literary snobs (also me), and I suppose the next one will be for the epic nerds (’tis I) and the one after that for the grimdark brooders (hi). Marketing sells the sizzle and not the steak, as they say, and right now Wuthering Heights is so much sizzle that it’s possible we won’t even need the steak. Still, I can’t help but be excited for this adaptation. Those who feel that Emerald Fennell might not have been ruthlessly faithful to the source material should remind themselves that there are approximately 1,036 other adaptations of Wuthering Heights out there (I can say confidently that I have seen most of them — by the way, definitely check out the one with young Timothy Dalton as Heathcliff), and at this point we should hope that each version brings something new to the table. I was originally skeptical of Elordi as Heathcliff: The actor seemed a bit too aloof and delicate to play such a force of nature. But having been moved greatly by his performance as the Creature in Guillermo del Toro’s Frankenstein, it’s clear to me that the man has quite a bit more range than I suspected. Robbie, meanwhile, can already do anything, and I like the idea that this version of Catherine will be some unholy combination of her Barbie, Elizabeth I, Nadine Belfort, and Nellie LaRoy. More importantly, Wuthering Heights, the book, is in fact a dark and beautifully deranged tale of lust and obsession and abuse and inexpressible longing, and the idea of filling the screen with extreme images of surreal, slithery sensuality and dripping depravity does not represent some blasphemous subversion of a hallowed original text. And the fact that Fennell has cast Hong Chau as Nelly Dean suggests she knows what she’s doing: Nelly is the secret mover behind the narrative of Wuthering Heights, alternately devious and credulous, and all too often the adaptations sideline her to part of the scenery. Putting an actress of such subtle power in that part is a promising development. (I’ll be curious to see if there’s even a nod to the generation that follows the story’s main characters. They take up quite a bit of the novel, and most adaptations ignore them entirely. Maybe we’ll see them in 2 Wuthering, etc.) Okay, so is Wuthering Heights a great love story, let alone the greatest? Jury’s out on that one and will be for several more centuries. It’s certainly a tale of adoration and its equal-and-opposite force, destruction. The story of Catherine and Heathcliff captures the kinetic, all-consuming pull that people can have on each other, and as such it’s certainly romance-adjacent, though I’m not sure anyone in the story ever expresses anything resembling what we today might think of as love. (That said, Wuthering Heights is certainly more of a love story than The Great Gatsby, which people keep mistaking for a romance when it is in fact an anti-romance.) But it’s also worth noting that the trailers identify this film as being “inspired by” Brontë’s original, so it’s more than likely that Fennell isn’t worried too much about fidelity. Is that a good sign or a bad sign? Will this be more Bram Stoker’s Dracula or more Roland Joffé’s The Scarlet Letter? We’ll be fighting about that until February and well beyond. (Bilge Ebiri)
The Mary Sue is 'still not convinced ‘Wuthering Heights’ is a straight forward adaptation but this new trailer…is kinda hot'. I have a theory about Emerald Fennell’s Wuthering Heights. The more I learn about this movie, the less I think it is an actual adaptation of Wuthering Heights but the new trailer leaned heavily into the Brontë of it all. From the start, many were rightfully angry over the casting of Jacob Elordi as Heathcliff, a character that is described as dark-skinned in Emily Brontë’s novel. And then there was a conversation about the costumes and Robbie’s hair as Catherine in the film and how it wasn’t period accurate. All this led to me convincing myself that this was far from a straight forward adaptation. My current theory is that Robbie is playing a woman who wants to live out her Wuthering Heights fantasies. With the new trailer though, we get to see a bit more of Catherine and Heathcliff’s love story. And…well…it is hot. Did I need to see Jacob Elordi putting Margot Robbie up by her corset? No but as a short girl, I said “Me and WHO!?” out loud so there IS that. (Rachel Leishman)
According to Den of Geek, 'The Wuthering Heights Trailer Is Peak “I Can Fix Him” Fantasy'. Plenty of Emily Brontë purists will — and quite rightly, if we’re honest — find much to complain about when it comes to our first real look at the movie, from its anachronistic costumes and vaguely inaccurate casting choices to its almost complete lack of the soulful grief that infuses so much of the original novel. But for plenty of folks (read: me), there’s also something wildly appealing about its completely unhinged and vaguely demented approach to its source material, which here is reimagined as an almost peak rehabilitation fantasy. Fennell seems to want to sell us a Cathy and Heathcliff we can root for, or that at least will somehow be better together than they are apart. (To which, I say: Good luck, babe.) The idea that some women prefer bad boys isn’t exactly new. In fact, it’s so prevalent that a lot of fiction in recent years has taken things one step further, embracing the idea that what women really love are the problematic heroes, the kind with deep-set emotional issues and psychological traumas that are probably best treated with therapy rather than a wedding band. The kind of man that needs saving — from his past, from himself, from his inner demons. Heathcliff, one of the most universally acknowledged Problematic Men in all of literature, can perhaps be read as a kind of prototype for this movement. But the concept remains popular, and there’s admittedly something quite powerful in the idea that love — love with the singularly right person — can fix the most broken of souls is still the foundation of half of the modern-day romance publishing industry today. So, it’s probably only natural that Fennell is as susceptible to it as anyone else. Savior complexes, we apparently all have them! But can she make the ultimate bad boy hot again? (Even if he’s actually abusive and manipulative and cruel?) Is Heathcliff a character that’s possible to “fix”? Look, if the release of Guillermo del Toro’s Frankenstein has taught us anything, it’s that Jacob Elordi can be hot in any form. He’s at Gothic Romance Final Boss levels of swoon in this trailer, as Heathcliff smolders in the rain, dramatically rides off into the literal sunset on horseback, and delivers lines like “So kiss me, and let us both be damned” without a single hint of irony or archness. For those of us (cough cough me again cough) who spent our youth loving movies like Bram Stoker’s Dracula and Kenneth Branagh’s take on Mary Shelley’s Frankenstein, this melodramatic asshole is basically our dream man. And apparently, he’s Fennell’s, too. The trailer—once more, completely unironically!—refers to Wuthering Heights as “the greatest love story of all time,” leaning into the star-crossed vibes of Cathy and Heathcliff’s romance and referencing several of the novel’s most iconic lines. (“Whatever our souls are made of, his and mine are the same” is an all-timer of a sentiment, and I will not be taking questions at this time.) Fennell seems to be approaching this story like she’s remaking Romeo & Juliet on acid—there’s licking of walls, artfully placed fingers in mouth, even shots of sensual breadmaking. But for all the dizzingly strange visual elements and gorgeously out-of-place costumes, the trailer seems strangely honest and straightforward about one thing: the achingly romantic nature of Cathy and Heathcliff’s forbidden relationship. That Fennell ships it is evident; that she believes in the power of love to save a pair of broken and awful people, even more so. But it’s definitely weird that the film appears to be intentionally leaving out—or has at least declined to mention in its marketing materials thus far—the fact that their love story is also deeply and thoroughly toxic. Yes, their unabashed longing for one another can be read as a form of Peak Romance, but in the novel, their inability to be together is also what turns each of them into the absolute worst versions of themselves, ruining multiple lives (including their own!) in the process. To be fair, it’s probably too soon to fully tell how this Wuthering Heights will handle its depiction of the (considerable) parts of Brontë’s novel in which Cathy does not appear, and where the full scope of Heathcliff’s viciousness is made plain. But since its twisted romance vibes definitely lean more toward the tragic than the cautionary tale, a not-so-small amount of viewers may well find themselves taken aback by how decidedly dark this story has the potential to become. Or maybe we’ll all end up wanting our own Heathcliff-style fixer-upper in the end. (Lacy Baugher)
And thanks to a brand-new trailer [...] we have a hot-and-heavy look at the starry adaptation. Above all, “Wuthering Heights” looks absolutely ravishing, with work from Swedish cinematographer Linus Sandgren, who shot Fennell’s “Saltburn,” really pumping up the images until you can’t help but swoon. He shot the movie earlier this year using 35mm VistaVision cameras, and you can tell. Of course, Robbie and Elordi seem to be giving their all as Catherine Earnshaw and Heathcliff, respectively, even if the decision to cast Elordi in the role has led to some backlash. (Drew Taylor)
AV Club says that, 'Margot Robbie and Jacob Elordi come undone in the sumptuous Wuthering Heights trailer'. No expense appears to have been spared for Emerald Fennell’s lavish adaptation of Emily Brontë’s “Wuthering Heights”. Those quotation marks alone must’ve cost a pretty penny. But while much could be said about the sumptuous cinematography, luxurious sets, and a red backdrop that would make for an excellent romance novel cover, it’s the two leads that still command the camera. In a romantic pairing that the literary world has clamored for, Barbie and Frankenstein finally make their union official in the new trailer. Margot Robbie plays Catherine Earnshaw in the adaptation, opposite Jacob Elordi as Heathcliff, her returning lost love who no doubt makes a mess of whatever circumstances Catherine now finds herself in. We won’t say too much more about the plot, but the book is nearly 200 years old, so feel free to spoil it for yourself by watching any number of film adaptations or even reading Brontë’s novel, if you’re daring enough. We will say that, while the trailer emphasizes Catherine’s romantic longing for Heathcliff and even declares the book “The Greatest Love Story,” it has yet to delve into his vengeful rage that surfaces when he gallops back into her life. (Matt Schimkowitz) Elle claims that they're 'Watching Margot Robbie And Jacob Elordi’s Wuthering Heights Trailer On Repeat'. The words that come to mind are, erotic and sexually charged. All things that have us intrigued. When we first discovered Australians Margot Robbie and Jacob Elordi would be portraying love interests in the adaptation of Wuthering Heights, we were sceptical. But the latest trailer may have just changed our minds. (Tia Thomas)
From Reactor Mag: 'This isn't your grandma's Wuthering Heights'. We finally have the full trailer for Emerald Fennell’s “Wuthering Heights” (yes, those quotations are very much part of the title), which amps up the movie as being inspired by the “greatest love stories of all time” (extremely debatable) and shows Jacob Elordi’s Heathcliff and Margot Robbie’s Catherine sexily yearning for each other with a love that is in no way problematic or overlaid with dark undertones. It is, in other words, a markedly different vibe than the novel, all the more so with Charli XCX’s original song going over it. (I like the song! This is by no means a diss on the song AT ALL. This music video Charli XCX released a few days ago tied to the movie, in fact, is keeping me alive.) Fennell drafted the screenplay “based on the novel Wuthering Heights by Emily Brontë,” so perhaps that “based on” is doing some heavy lifting here. The marketing materials describe it as “a bold and original imagining,” after all, and that along with the movie’s title in quotes, makes me thing more is going on here than we’re seeing in today’s trailer. If Fennell’s interpretation gets away from the source material, I’m all for it. Today’s trailer is full of deep, angsty yearning, and I’ve never seen quick shots of kneading dough, eating grass, and licking walls feel so sexy. Whatever this film ends up being, odds are good that it will at least be interesting, given that Fennell’s previous credits include Saltburn, Promising Young Woman, and Killing Eve. I’m here for it. (Vanessa Armstrong)
If we had a penny for every time we saw Jacob Elordi star as a tortured figure in a Gothic Romantic epic helmed by an auteur unafraid to take a literary masterwork and mould it to their own unique, transgressive vision, then we'd have two pennies — which isn't a lot, but crazy that it's happened twice, right? Yes, having just won our hearts as the pitiable Creature in Guillermo del Toro's Frankenstein, Jacob Elordi's Byronic hero era is set to continue in Emerald Fennell's upcoming Emily Brontë adaptation Wuthering Heights, where the Aussie star plays the Heathcliff to Margot Robbie's Cathy. In honour of Elordi's surprisingly strong northern accent, allow us to be the first to say *clears throat* bloody 'ell, that looks reyt good, does that. All furtive touches, yearning glances, bad omens, smouldering looks, and even more smouldering confrontations, this latest trailer for Fennell's transgressive new take on Brontë's book is hitting all the right notes — and it certainly doesn't hurt that it's shot like a Caspar David Friedrich painting by Saltburn DP Linus Sandgren and set to a hyperpop heartbreak anthem by Charli XCX. Hell, there's even some salacious wall licking by Elordi's increasingly desperate malcontent Heathcliff in among all the galloping horses, gorgeous outfits, and wily, windy moors if that's your sort of thing. (Jordan King)
India Times wonders whether it is 'the boldest take on Emily Brontë’s classic'. The new teaser makes one thing clear from the very first frame: this version is darker, louder, and more intense than any before it. And with excitement rising, many are already asking how this 12th adaptation compares to Emily Brontë’s 1847 novel. This sets the tone for a film that hopes to keep the heart of the original story but also reshape parts of it for today’s audience. [...] The trailer shows Catherine Earnshaw and Heathcliff in raw, powerful moments. It highlights the beauty of the moors but also the storm inside the characters. This fits Fennell’s style, which often mixes desire, fear, and uneasy emotions. And with the teaser ending on a striking note, the movie promises a deeper look at the pain and obsession that shape the two lovers. Another [X user]shared a different perspective, writing, “It’s almost too easy… show of hands… how many people want to live in the idea of Jacob Elordi sexing Margot Robbie and it being so intense that it drives them both mad? One of the things I love about the Olivier Wuthering Heights is that this wasn’t so obvious. But that doesn’t mean that this movie won’t be a massive hit, especially with women, attending alone and in groups… making 90% of all romances seem positively, irredeemably inferior. Have at it!” [...] Wuthering Heights has been adapted many times, each choosing different parts of the novel. The list includes: 1939, 1950, 1962, 1967, 1970, 1992, 1998, 2003, 2009, 2015, and 2011. Most versions skip parts of Brontë’s long story, especially the second generation. The 1992 film was the first to adapt the entire novel. The 2026 version joins this long history, adding its own style and choices to the legacy. (Priya Prakash)
World of Reel says that the new trailer ' Is All Sex, Madness, and Linus Sandgren’s Mesmerizing Cinematography'. All hail, DP Linus Sandgren. The cinematography looks beautiful, and it’s easily the trailer’s clearest highlight, along with some of the set designs and period details. The trailer’s visuals are utterly mesmerizing, with landscapes and architecture that feel almost dreamlike. The striking red of the floor and the dress is particularly eye-catching. English lit majors will definitely get triggered by the trailer’s claim that this is “the greatest love story of all time” —definitely not quite what the Brontës [sic] had in mind. [...] This could well be the most unusual “Wuthering Heights” to date—and that might not be a bad thing. The last thing anyone wants is another by-the-numbers adaptation. What the next film version needed was a jolt of fresh energy, something bold and unexpected. For better or worse, that seems to be exactly what Emerald Fennell may have delivered. (Jordan Ruimy)
Gulf News wonders, 'Wuthering Heights was a colossal and furious, frowning epic—so why does Hollywood reduce it to romantic pulp?' In her preface for Wuthering Heights, Charlotte Bronte writes for her sister Emily’s work, “Wuthering Heights was hewn in a wild workshop with simple tools, out of homely materials.” She goes on to describe how the ‘statuary’ found a granite block on a solitary moor, and ‘wrought’ with a ‘rude chisel’ from no model but a ‘vision of his meditations’. And slowly, the ‘crag’ took human shape. It’s colossal, dark frowning, terrible and goblin-like, and still beautiful. Her sister wrote that, dear ones. That was the power, terror and grip that Emily Bronte’s novel had on people in a time gone by. And now, what would the Brontes say, if they saw the trailer for the Hollywood adaptation? How would Emily feel about her ‘colossal, frowning monster’ that she created, turned into a steamy Mils[sic]-and-Boon forbidden romance with a Charli XCX playing in the background? At best, she might just say that they’ve read two very different books. Hers, is about self-destruction, hatred that burn the embers of a person’s very being, and the other story is about two very-good looking actors in a time that knows the lexicon of ‘green flag, red flag’ and the price of labubus. It’s jarring, and deeply disorienting, almost akin to the same feeling of fifth-hand embarrassment that Netflix’s Persuasion attempted---the film tried to ‘Fleabag’ its way through, completely ignoring the poignance of Jane Austen’s book that wasn’t just some by-the-way tale of star-crossed lovers, erasing the class distinctions completely. Nevertheless, there will be those who will say, but ‘wait for the film’. True, but after watching classics turn into Hollywood mulch, it’s a bit difficult to feel otherwise. Barring Far From The Madding Crowd, which starred fantastic Carey Mulligan and Matthias Schoenaerts., the recent spate of classic adaptations seem to be missing finer points of the classics. They weren’t always just ‘love stories’ and cannot be narrowed down to ‘toxicity’—another word that is brandished in today’s world to the point that it’s losing the pungency. Books like Wuthering Heights, especially need to be treated with respect, rather than skimmed through and superficially understood as some tale about how two lovers couldn’t find their way to each other. It cannot be brought down to ‘toxic soulmates’, which TikTok will invariably do, completely flattening it’s terrifying power. It's a brutal tale. The story is pulsing with hurt, seething rage on every page. The characters are cruel, too, to those they love and to themselves. Catherine is selfish, unbearably so, and that’s why the book is so vivid and raw. Heathcliff’s revenge isn’t some ‘bad-boy’ broody fellow that you see in a regular streaming series. To turn Wuthering Heights into just a love story is to tame a storm; Emily Brontë’s frowning monster deserves nothing less than the full force of its haunting, terrible beauty. (Lakshana N Palat)
The first full-length trailer of Emerald Fennell’s Wuthering Heights, starring Margot Robbie and Jacob Elordi, reimagines Emily Brontë’s iconic love story with bold visual flair and intense chemistry. The first full-length trailer for 'Wuthering Heights', Emerald Fennell’s bold new take on Emily Brontë’s 1847 classic, is out — and it promises an intense, provocative retelling of what the film calls “the greatest love story of all time”. The trailer showcases Margot Robbie as Catherine Earnshaw and Jacob Elordi as Heathcliff, first meeting as children before their relationship spirals into a destructive, all-consuming romance on the windswept moors of West Yorkshire. In one scene, Robbie’s Cathy asks Heathcliff what he would do if he were rich, to which he replies, “Live in a big house, be cruel to my servants, take a wife.” Much like Brontë’s novel, the film follows Cathy’s marriage to the wealthy Edgar Linton (played by Shazad Latif) to protect her social status. A heartbroken Heathcliff disappears, only to return seeking revenge. The trailer hints at the pair’s continued emotional turmoil — with dramatic shots of stormy nights, tearful reunions and passionate kisses, all set to Chains of Love, a new track by Charli XCX created for the film’s soundtrack. Viewers also get glimpses of Fennell’s signature visual flair — heightened colour palettes, stylised costuming and a youthful energy that sets this adaptation apart. (Anjali Thakur)
The first look trailer set tongues wagging and pulses racing with some fans going so far as to liken it to soft-core porn. Some fans of Brontë claimed the author would be 'spinning in her grave' at the bondage scenes in the first teaser trailer for the latest interpretation of her 200-year-old novel. If that trailer was packed with raunchy moments, the official trailer brings in the emotion. It starts out with Cathy asking Heathcliff what he would do if he were rich. As he answers, the camera jumps between their childhood bond and deepening longing for one another as they get older 'I suppose I would do what all rich men do, live in a big house and be cruel to my servants. Take a wife,' he tells her. From there, the trailer jumps to the heart-wrenching moment he is told that 'he's not enough for Cathy and her heartbroken agreement to marry the wealthy Mr Linton as she learns that he has left only to resurface as a self-made man. 'Why did you betray your heart,' he demands of her at one point, and winds down with her haunting words 'whatever our souls are made of, his and mine are the same.' Fans were quick to share their thoughts on the trailer, with one saying: 'Falling in love again and again. Man, that teaser had me hooked,' one wrote. Others were not so praiseworthy, with some slamming the adaptation for not being a faithful retelling of Emily Brontë's novel and missing the point by calling it 'the greatest love story ever told.'
Out on the wily, windy moors, Warner Bros. has just released the first trailer for Emerald Fennell's new vision of Wuthering Heights. The doomed romance between Heathcliff (Jacob Elordi) and Catherine (Margot Robbie) takes center stage in the lavishly-shot trailer, as does the music of Charli XCX, who will soundtrack the film. Wuthering Heights will be released in theaters on February 13, 2026. In the new trailer, Elordi is still in Gothic romance mode, fresh from donning the elaborate prosthetics of Guillermo del Toro's Frankenstein. He's starring as Heathcliff, the ultimate Byronic hero of Emily Brontë's Wuthering Heights. He's engaged in what the trailer dubs "the greatest love story of all time" with Catherine (Robbie), his adopted sister. Bodices are ripped, impassioned declarations are made on the moors, and horses are ridden off into the blazing sunset over the course of the trailer, which offers a tease to would-be moviegoers on next year's Valentine's Day. Just be warned, young lovers: unless Fennell (Saltburn) has made some significant alterations to the source material, this one isn't going to have a happy ending. (Rob London)
It’s a big week for Charli XCX and classic romance novel fans alike: The singer has released her second single in four days, “Chains of Love.” It follows the Nov. 10 release of “House” featuring the Velvet Underground’s John Cale. Both tracks will be on Charli’s forthcoming album Wuthering Heights, inspired by and soundtracking Emerald Fennel’s highly anticipated film adaptation of the famous book by Emily Brontë. The movie will hit theaters on Valentine’s Day 2026, and Charli’s album will arrive the day before, on Feb. 13. “Chains of Love” is featured prominently in the new Wuthering Heights film trailer, also released Thursday. On “Chains of Love” Charli XCX is a tortured paramour, speak-singing, “I’d rather lay down in thorns/I’d rather drown in a stream/I’d rather light myself on fire/I’d rather wear all these scars/I’d rather watch my skin bleed/In the eye of your storm.” In the bombastic hook made even bolder in the movie trailer, Charli sings “My face is turning blue/Can’t breathe without you here/The chains of love are cruel/I shouldn’t feel like a prisoner.” It was produced by Finn Keane, who also made “Von Dutch,” “Sympathy Is a Knife,” and “Everything Is Romantic” with Charli. “Everything Is Romantic” was used in a September teaser for Wuthering Heights. In the Wuthering Heights trailer, “Chains of Love” is fleshed out orchestrally while stars Margot Robbie and Jacob Elordi fall in star-crossed love as Catherine Earnshaw, the wealthy daughter of master of the Wuthering Heights estate and Heathcliff, who her father took in as an orphan when they were children. (Mankaprr Conteh)
Charli xcx is back with another taste of her album of music written for Emerald Fennell’s adaptation of Wuthering Heights, the full trailer for which arrived Thursday (Nov. 13) featuring a new song from the pop star titled “Chains of Love.” The preview opens with Emily Brontë’s famous fictional lovebirds, Heathcliff and Catherine — played by Jacob Elordi and Margot Robbie, respectively — sitting together in the moors as the former imagines what he would do if he were rich. The latter is startled when he indicates he’d “take a wife,” setting off a montage of the couple’s tragic gothic love story. “Why did you leave me?” Robbie says at one point as Elordi chases after her in a downpour, asking her in response, “Why did you betray your own heart?” All the while, Charli’s anthemic, synth-powered track plays. “I know the chains of love won’t break,” she repeats in a soaring soprano melody. The full song is now available for streaming, dropping on the same day as the trailer. It follows on the heels of “House,” which the British singer-songwriter worked on with John Cale of the Velvet Underground for her Wuthering Heights concept album. The new LP is set to drop on Feb. 13 — one day before the film premieres in theaters. In her first-ever post on Substack, Charli recently shared how the upcoming concept LP came to be. “I called Emerald and asked her what she was hoping for from my read of the script,” she wrote in a post on Nov. 12. “She coyly suggested ‘A song?’ and I suggested ‘An album?’ because why not? I wanted to dive into persona, into a world that felt undeniably raw, wild, sexual, gothic, British, tortured and full of actual real sentences, punctuation and grammar. Without a cigarette or a pair of sunglasses in sight, it was all totally other from the life I was currently living.” “This collection of songs is an album, and sure, my name’s on the credits, but is it a Charli xcx album?” she added in the post. “I don’t even know. Nor do I really care to find out.” (Hannah Dailey)
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Russh lists '7 film adaptations that are better than the original' including Jane Eyre (2011) Mia Wasikowska and Michael Fassbender deliver strong performances in a version of Jane Eyre that emphasizes the story’s gothic tone. While the novel is expansive and detailed, this adaptation streamlines the plot, focusing on atmosphere and character rather than side stories. The result is a clear, focused interpretation that highlights both the emotional intensity and the darker psychological aspects of the original. (Kirsty Thatcher)
No, it is a very good adaptation, but definitely not better than the novel.
A contributor to LitHub mentions reading Jane Eyre: I read Jane Eyre two summers after watching Clueless as a summer reading assignment on the beach, never more engrossed in a story in my life. Witnessing Jane’s ability to become honest with herself after a childhood defined by a mixture of hostility and neglect captivated me. Maybe there was hope I’d also come out on the other side of the darkness living inside of me (though I hoped I’d fall in love with someone kinder and less damaged than Mr. Rochester). (Tiffany Graham Charkosky) ¿Cómo nació la idea de crear un disco inspirado en los poemas de las hermanas Brontë? Recuerdo que, hace años, en una librería de Barcelona me encontré con la novela Cumbres borrascosas, de Emily Brontë. No conocía a la autora ni la temática del libro, pero lo compré y lo leí ávidamente. Me impactó mucho: su lenguaje, la psicología de sus personajes y el enorme fuego que destilaban aquellas páginas. Más recientemente leí Jane Eyre, de Charlotte Brontë; Agnes Grey y La inquilina de Wildfell Hall, de Anne Brontë, y me “embrujaron” de tal manera que me puse a investigar sobre las vidas de estas tres hermanas y mujeres increíbles, hasta que encontré su libro de poemas, publicado en 1846. Puse algunos de sus poemas encima del piano y empecé a cantar algunos de sus versos. Iban surgiendo melodías una tras otra y no podía parar. Poco a poco fui hilando y dando forma a un disco conceptual basado en trece de sus poemas, que ha resultado ser una de las experiencias creativas más bonitas de mi vida. ¿Qué fue lo que más te atrajo de su universo poético: la naturaleza, la soledad, la espiritualidad…? Esos tres conceptos me atrajeron muchísimo, sí. También la inmensa riqueza de su mundo interior. Eran capaces de combinar imágenes de la naturaleza con una profunda introspección del yo, a menudo recurriendo a paisajes para expresar anhelos, miedos o consuelos. No hay que olvidar que vivían en la rectoría de su padre, en el pequeño pueblo del norte de Inglaterra, Haworth (Yorkshire), en un entorno rural donde los páramos se extienden salvajes y que para ellas representaban su espacio de libertad. ¿Cómo ha sido el proceso de seleccionar los trece poemas entre la extensa obra de las tres hermanas? Me dejé llevar por aquellos poemas que me emocionaban y que se iban transformando, de forma fluida y natural, en canciones. Desde un principio supe que no quería acortar ninguno, por lo cual tuve que descartar algunos más extensos. La estructura del álbum se fue configurando a medida que avanzaba en la composición. Pronto me di cuenta de que la primera cara del álbum estaría destinada a seis poemas de Emily Brontë (su producción poética es más amplia), y la segunda cara a tres de Anne y tres de Charlotte, para terminar con «Fall, Leaves, Fall», de Emily, para cerrar el círculo y volver al principio del disco. ¿Has sentido algún paralelismo entre el paisaje de Yorkshire que ellas describen y el de Menorca, tu tierra? Sí. El paisaje de Menorca en invierno tiene similitudes con el del norte de Inglaterra. De hecho, el disco lo compuse y grabé entre los meses de noviembre de 2024 y marzo de 2025, de modo que la conexión estacional está presente. Cuando ya había acabado el disco, tuve la suerte de pasar unos días en Haworth. Fue una verdadera conexión emocional visitar su casa-museo y caminar a través de los páramos. Me impresionó la amplitud del paisaje y sentí que la música que compuse desde Menorca estaba en consonancia con lo que vi allí. Aquello fue muy importante para mí. En tus anteriores trabajos ya se percibe un diálogo entre literatura y música. ¿Qué papel juega la palabra escrita en tu proceso creativo? La poesía, desde hace años, se ha convertido en uno de mis principales estímulos creativos. Aunque he escrito letras en discos anteriores, musicar poemas me parece una forma preciosa de conjuntar distintas expresiones artísticas y dialogar con otras sensibilidades. El disco tiene una atmósfera muy cinematográfica. ¿Cómo ha influido la producción sonora en la manera de contar estos poemas? La producción es una de las facetas que más me interesan a la hora de hacer música, y los poemas de las hermanas Brontë me han permitido ser descriptivo y visual, creando imágenes al igual que ellas hacían con su literatura. Durante estos últimos años he compuesto bandas sonoras instrumentales para audiovisuales, danza, teatro y documentales, lo cual me ha permitido incorporar algunas de esas texturas en las canciones, especialmente en temas como «At Castlewood» o «Speak of the North». En este proyecto, además, canto acompañado de dos grandes voces: las de Clara Gorrias y Neus Ferri, quienes se han involucrado mucho en el proyecto, además de músicos e ingenieros que han hecho un trabajo increíble. A todos/as les estoy eternamente agradecido. ¿Qué diferencia «Night», de Anne Brontë, de «Fall, Leaves Fall», de Emily Brontë, en términos de emoción o estilo musical? Son canciones distintas, aunque ambas tienen un carácter íntimo y están escritas en primera persona. Musicalmente, tienen similitudes: son breves, acústicas y cantamos en tres partes de armonía, tratando de alcanzar la sensibilidad de sus versos. En «Night», la noche acontece como una gran tela negra donde la poeta proyecta sus miedos y su consuelo. El poema juega con el contraste claro-oscuro para subrayar la lucha entre la duda y la fe interior. En cambio, en «Fall, Leaves Fall», la caída de las hojas sirve de metáfora del paso del tiempo y de la aceptación de la pérdida. El ritmo pausado evoca el descenso suave que vive la naturaleza, pero también la melancolía de quien contempla los ciclos inevitables. (Alex Brito) (Translation)
Here it is. The brand new trailer for Wuthering Heights 2026:
And this is one of the first reactions: The trailer sees Brontë’s star-crossed lovers, Catherine (Margot Robbie) and Heathcliff (Jacob Elordi) meeting first as children, then becoming tangled in a torturous love affair as adults in the West Yorkshire moors. “What would you do, Heathcliff, if you were rich?” Robbie’s Cathy asks Elordi’s Heathcliff. “I suppose I’d do what all rich men do,” he answers. “Live in a big house, be cruel to my servants, take a wife.” (Adrian Horton in The Guardian) Guiem Soldevila, the author of the recently released Brontë album, gives a concert today, presenting his new album in Ciutadella, Menorca, Spain: Guiem Soldevila Teatre des Born, Plaça des Born, 0 S/N, 07760 Ciutadella de Menorca, Illes Balears, Spain Divendres 14 de novembre a les 20.30 hores
Les germanes Brontë, per mèrits propis, ocupen un lloc destacat en la literatura de parla anglesa. Les seves novel·les van revolucionar la narrativa a l’Anglaterra del segle XIX i van transformar els límits d’expressió permesos per a les autores de l’època. La present obra del músic i cantant Guiem Soldevila ens brinda un viatge fascinant al cor de la poesia de les tres germanes, i conforma una experiència literària i musical única i inoblidable.
Fitxa artística Veu, guitarres, piano i sintetitzador: Guiem Soldevila Veu: Clara Gorrias Contrabaix: Lluís Gener Violoncel: Pau Cardona Arpa: Elena Armenteros Bateria i percussions: Andreu Marquès Dansa: Gêliah Duduk: Pep Eroles So: Eduard Florit Il·luminació: Marc Bagur
These are the results of a recent auction at Hansons: [BRONTË SISTERS]. The Works, in six volumes, comprising Jane Eyre, Wuthering Heights, The Tenant of Wildfell Hall, Villette, The Professor, and The Life of Charlotte Brontë, 8vo, uniformly bound in contemporary half-calf with morocco title labels lettered in gilt, London: Smith, Elder & Co., [c. 1880]
Lot closed - Winning bid:£420 Estimate:£100 - £200
Collider thinks that Charli XCX's track House 'Marks a Dark, Avant-Garde Shift No One Expected'. However, while pop music has seemingly been thriving under the dance pop umbrella, it seems the genre is take a new stylistic pivot. Charli XCX’s new single “House” for the 2026 film Wuthering Heights has elicited cultural chaos. While her record-shattering project Brat demanded sex and sweat while exploding on the club scene, “House” is a very drastic shift. It’s a haunting, baroque pop track that is heavy and sinister, setting the tone for Wuthering Heights’ entire soundtrack (which promises to feature several original Charli XCX songs) to be neoclassical dark wave. (Jazmin Kylene) Byrdie focuses on the hairstyles. You can spot instances of hair as literary device in almost any novel, but the Brontë sisters' works serve as especially great examples. In Wuthering Heights, the characters' hair colors tell you a lot about the worlds they come from and a hair-filled locket is a scene-stealer. In real life, various pieces of jewelry containing locks of Anne, Charlotte, and Emily's hair—sometimes together, sometimes separate—have been discovered and authenticated over the years. The vision here was that keeping a loved one's hair close allowed you to be with them at all times, in life and in death. It wasn't all mourning jewelry, though. Hair doesn't die or wither and a strand from a deceased loved one might help tell their story, but it could (and can!) tell a story when they're alive, too. Enter the hairstyling world's new main character: "Brontë Waves." In Wuthering Heights, women's hair is described at various points as "streaming" down shoulders, "uncurled [with] some locks hanging lankly down and some carelessly twisted round," and obviously "long." A modern writer might say "extra-long, natural-looking waves." Slight messiness is welcome, as this isn't a look a Victorian diva would wear in public. It's bedtime, she's in her nightgown, and she's lamenting a doomed romance. Or it's the middle of the night and she just woke up from a nightmare. Her sweaty forehead and time spent pressed against the pillow have provided the necessary lack of volume at the crown necessary to perfect the look. We could potentially call Brontë Waves "beachy," but not in a cool surfer girl way. If a Brontë Waves wearer is going to the beach, it's because she needs the salt air to cure her heartache. A middle part is mandatory, as is having tons of length. Both the lit girls and the It girls are leading the Brontë Waves charge, obviously. We saw the style on Charli XCX in her new music video for "House" (she wrote it for the upcoming Wuthering Heights movie, which tracks even more). [...] There's also the simple fact that the Wuthering Heights movie is coming out this winter. To a less analytical and more physically satisfying point, you've seen Margot Robbie's tumbling blonde waves and Jacob Elordi's dark lob in the trailer for the upcoming movie version, right? Both are so dramatic and so good. Recently, a billboard popped up in LA showing just the back of Robbie's head; it's sexy, sure, but the look also sells. (Sophie Vilensky)
Apart from Brontë waves, another thing that seems to be a thing is 'bookfishing' according to Popsugar. Most people would agree that reading is a hot-person hobby. Spot someone out in the wild with a book in hand, and they will probably appear more attractive, more intelligent, and more aware of the female gaze. (There's a reason why the Instagram account Hot Dudes Reading has a casual 1.3 million followers.) Even people on dating apps agree: according to data sourced by Bumble, 66 percent of Gen Z and millennial singles say they would be more likely to swipe right on someone who mentions reading in their profile. The only problem? Not everyone's love for books is as genuine as it seems. As I like to call it, "bookfishing" is what happens when someone pretends to love books or reading in an attempt to appear more dateable. Similarly to how someone may be labeled a catfish if they look nothing like their photos, your dating apps might be polluted with people pretending to be literary bookworms, too. This was the case for Lizzy*, 30, when she matched with a man who included a photo of himself reading "Jane Eyre" in his profile. When Lizzy messaged him saying she needed to check out his attic before agreeing to go on a date, he responded with a series of question marks, clearly missing the Mr. Rochester reference. "I unmatched him. Did he even make it past the first chapter before deciding to snap a photo of himself reading?" she says. (Taylor Andrews)
Sitting in bed, under a duvet, three blankets, and a mountain of tissues, I feel the only difference between myself and Helen Burns is that I’m an atheist. [...] The other downside of being sick is that screens start to hurt. My tolerance for Instagram Reels has been so diminished that I, for perhaps the first time in an Oxford term, decided to read for pleasure. Jane Eyre is my conquest. Battered and bruised, I stole it from my mother’s shelves years ago and burrowed into it. I was home from school in all the glory of a stomach bug which works itself out long before the teachers acquiesce to let you back in. And what else does one do in such a situation, but read? [...] There’s something haunting about Brontë’s description of Helen’s death which is also oddly comforting. The scene reminds me of lying alongside my sister in the morning spells of primary school flus or the afternoon hangovers of our adolescence, though armed with central heating and painkillers. The sickbed in that room which for Jane is filled with horror, for me was rarely so. (Briony Arnott)
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