Change the Record: Charli XCX – “Wuthering Heights”
“Wuthering Heights” has suddenly become a big topic of discussion, with a new film adaptation from the consistently controversial Emerald Fennell and an accompanying soundtrack album by the considerably less controversial Charli XCX. So why not review them? There’s a lot of fertile ground for discussion here. For the first time, be prepared to change the film reel—and the record.
Because these two works require being discussed together, however, this Change the Record will be a bit different. The first half is a review of the film “Wuthering Heights,” written by the wonderful and articulate Casey Boothe. The second half is a review of the soundtrack album of the same name by Kate Megathlin (aka me, the person who wrote this intro). So this one is longer than usual.
Part 1: The Film (by Casey Boothe)
“Wuthering Heights” tells the story of Catherine Earnshaw and Heathcliff, whose ill-fated romance poisons the howling moors of northern England with hopeless passion. The 19th-century Gothic tragedy of desire, degradation, and vengeance presents a sprawling, intergenerational narrative told through unreliable, timeworn memories. Its timeless scope, complexity, and brutality have long made screen adaptations a challenge. So, here we go again. Does Emerald Fennell’s latest adaptation do justice to the brooding characters and world of Emily Brontë?
As Fennell said, “It’s ‘Wuthering Heights,’ but it isn’t.” Cramming such an intricate narrative and all its wretched glory into a two-hour film was never going to succeed. Rather than trimming enough plot points to fit a limited runtime, the assignment was to capture the naked heart of human nature at the novel’s core. Given her reputation for shock value and sharp characterizations, Fennell appeared to be a suitable choice to helm this despairing tale.
A clear vision is on display that does not try to be anything other than a visually striking, belligerent romp. Bold production design creates a deliciously oppressive atmosphere in which the characters become their worst selves. Yet, the biggest shock factor is how much psychological depth got left behind in the process. Portraits of class dynamics are replaced with indulgent images of poverty and wealth, brutal domestic abuse with submissive fetishes, and a sweeping examination of obsessive love with a stylized tale of forbidden romance.
Emblematic of the film’s main issues is the controversial decision to cast a white actor as Heathcliff, who is described in the novel as a “dark-skinned gypsy” and a “laskar,” played here by Jacob Elordi. His racialization by the Earnshaws and Lintons deepens the grievances he later avenges and shapes the language used by the narrators to frame his villainous manner during tense moments. Speaking about Catherine’s future husband, Edgar, Heathcliff laments, “I wish I had light hair and fair skin, and was dressed and behaved as well, and had a chance of being as rich as he will be!”
This is at least the eighth adaptation of “Wuthering Heights” released since the first film in 1939. All but one, released in 2011, featured white actors in the role of Heathcliff. Jacob Elordi has proven to thrive in exploring the sensitivity of monsters, but erasing this aspect of Heathcliff’s characterization diminishes the roots of his suffering and, therefore, his motivations. Given its narrative significance, this role presented an opportunity to challenge Hollywood’s history of whitewashing, especially at a time when BIPOC representation of leads in films is on the rise.
Reactions to the casting choice are mixed. Some say Fennell’s comments on the subject have been tone-deaf and that implicit bias may have shaped her vision of the character. Others argue it was for the best this time, considering the sexual dynamics and cultural background of the filmmakers, but hope for a future version produced by people of color.
Most agree on the baroque thrill of this adaptation, which has always been Fennell’s strength. Admittedly, I agree that there is plenty to enjoy here. Prioritizing style over substance, it appeals to audiences’ sensibilities and emphasizes mood. Given how it forgoes any examination of class or trauma reciprocity and distills the story almost exclusively to the carnal sexual tension between Catherine and Heathcliff, this artistic approach is fitting. The Lintons’ estate features grandiose interiors and costumes. Shots linger on provocative imagery, while a haunting score elevates the lovers’ affection and misery, performed with all the chemistry these characters ever had.
I would hesitate to recommend this film to fans of the novel. It feels too independent from the original story. On the other hand, I might recommend it to viewers who enjoy pulpy, sultry romance, which this film seems to have mistaken for “Wuthering Heights.” While I can appreciate an adaptation that takes massive liberties with the source material and admire the film’s visceral style, a definitive, faithful version of this classic story would be very welcome in the future.
Part 2: The Album (by Kate Megathlin)
Music is a vital part of movies. If you disagree, then try watching a “Star Wars” movie and see how long you make it until the lack of the Imperial March makes you reconsider your will to live. Many movie soundtracks are well-crafted works of music on their own, some of the most notable pieces of sound ever put to vinyl. Despite this, reviewing movie soundtracks is rare for music reviewers because so much context gets lost without the movie behind it, to the point that even in 2024 and 2025, I had never reviewed one. That changes today. Thanks to Casey, you now have the relevant context, and that gives me the freedom to complain.
I don’t need to run down the history of Charli XCX again. If you are reading a review like this, you likely already know it, and if you do not, refer to my “Brat” review for context. Most important is that “Brat” became a cultural phenomenon, and anything Charli XCX did afterward would gain attention. She could’ve farted into a mic and it would have sold records, so the prospect of an album was exciting, even if it came in the unusual shape of a soundtrack for the film “Wuthering Heights.” Many wondered whether this would be a new sound or a follow-up to the sound of “Brat.” The answer is neither, sort of.
The first single from the album was the opener, “House,” featuring John Cale. It is a harsh, industrial, bold opener to a modern pop star’s latest soundtrack to a sexually charged romance movie. It is brutal and pounding, and hearing it for the first time left me eager to see where Charli XCX would go from here, wondering if she was going to go balls-to-the-wall experimental.
My hopes were quickly dashed, as Charli XCX delivered one of her more bland albums sonically. It is closest to her 2022 album, “Crash,” which is my least favorite album of hers. It’s not as weak—the baroque touches, with plenty of strings and harsh bursts of harpsichord, add additional texture—but the album as a whole still feels insubstantial.
Insubstantial is the word of the day, really. Tracks such as “Dying for You” and “Altars” simply leave me with a sense of emptiness at how basic they sound. Not awful, mind you, but compared to the bolder sound and the confidence of “Brat,” it feels like things have been dialed back too far. There are highlights, however. “Seeing Things” wonderfully reminds me of a Disney musical. It feels like the perfect music for a film trailer, with its dramatic strings and addictively repetitive chorus. “Out of Myself” is another powerful track. It is more reminiscent of Charli’s better, bolder work, with her strong vocal presence emphasized by the strings and glitchy backing instrumentation. Finally, the track “Eyes of the World,” featuring Sky Ferreira, is maybe the only track here that feels like it follows up on the darker, harsher sound of the intro, even if a bit more melodic, and hearing Sky Ferreira belt her voice out is always a pleasure to the ears.
Otherwise, there is little for me to cover here. Lyrically, the album mostly plays to the themes and narrative of the film—solid, but not groundbreaking or deeply personal. Obviously, Charli is not going to explore her traumas on a movie soundtrack, but still, it adds to the insubstantial feeling I was talking about.
Ironically, for the film this soundtrack is attached to, it feels like a whitewashed version of Charli XCX’s sound. It is less a bold step forward and more a detour to see the scenery and watch two horny white people get it on in a pile of hay. If you are a Charli XCX completionist, then check it out. Otherwise, it may be best to just wait until she releases a more substantial project.
Hello there stranger, this is Kate Megathlin, writer for weekly music reviews for the Seattle Collegian, here to assert how much more important her opinions are than yours. She is a Seattle Central student with a major love of music and music culture, and every week she’ll try to deliver reviews of new albums coming out, if you want to recommend albums for her to review, email her at Kate.Megathlin@seattlecollegian.com.
Casey Boothe
Driven by curiosity, Casey is studying journalism in the pursuit of using stories to make sense of the world. Since moving to Seattle two years ago, he’s fallen in love with the city’s vibrant culture, especially within the culinary scene. As a Staff Writer for the Collegian, he is eager to highlight stories and people that resonate with the local community. Aspiring to join the long legacy of journalists speaking truth to power, Casey hopes to keep Seattle informed and engaged.
