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There’s a lot to talk about when it comes to Wuthering Heights. I’m sure we’ll be dissecting and debating it for weeks. From the whitewashing controversy to the toxic love to the daring costumes, the discourse is going to be discoursing. This film, like most everything Emerald Fennell touches, is going to be divisive. And I think that’s part of its charm and its weakness. As The Ringer put it, Wuthering Heights may be “the hate-watch event of the year.” Except, I didn’t hate it.

I may be one of the few people that don’t think this Heathcliff should have been anything but the white fantasy Fennell envisioned (let her make the revitionist movie she wants; we should be championing artists of color to create their wildest desires onscreen and pushing Hollywood execs to greenlight them instead), and this may be strange to admit, considering the movie is based on one of the most toxic relationships in literature, but as soon as Cathy and Heathcliff grew into Margot Robbie and Jacob Elordi, and they gave us some of the most blistering and intoxicating chemistry I’ve seen onscreen in awhile, I started to enjoy myself. I couldn’t look away.

Emerald Fennell’s Wuthering Heights is a gothic, depressing tragedy of love, lust, loss, and self destruction and yet, it’s also kind of fun (until it’s not, no spoilers). Aside from the absurdity and campiness of the costumes, one of the things I enjoyed most was how unhinged, horny, and mean Cathy could be. And how weird and complicated Alison Oliver’s Isabella Linton was. As Robbie put it, Cathy is “such a bitch.” You can say a lot about Fennell, but she can write female rage (see: Promising Young Woman) and here, she sets her sights on female desire.

Late last month, the day after I’d seen Wuthering Heights for the first time, I talked to Robbie and Oliver at the film’s fantastical press junket (it was held at The Doheny Estate at the Greystone Mansion and Gardens and there were Wuthering Heights-themed installations throughout the historic grounds) about their characters’ surprisingly refreshinging agency, that much-discussed Robbie-Elordi chemistry, and which costumes shocked them the most.

Both of these characters are messy. They’re destructive. They’re unapologetic. They put female desire first, which I think is going to piss some people off, but I loved that about them. It would be easy to say that their entire identities are wrapped up in romantic obsession. But talk about how important it was to show that female desire, that all consuming desire, and the choices that these women make for themselves?

Margot Robbie: Do you know what felt radical? We have a scene — Alison and I — on the swing in the garden, and it’s a scene essentially, where we’re just fight over Heathcliff, and it felt so radical to do a scene like that. The ironic thing is that we’ve fought so hard to not have to do that in movies anymore, but now it’s been so long since — I don’t know if I’ve done a scene like this since I was on the soap opera I was on back in Australia when I was a teenager. It felt so radical to just be two women fighting over a man. It was crazy. “You have him. He’s so handsome. Who you talking about? You could never take him!” It was weirdly exciting to do.

It felt so radical to just be two women fighting over a man… It was weirdly exciting to do.
margot robbie on cathy and isabella

Alison Oliver: Yeah, it was strange. All of these characters do have — I feel like Emerald really gave them agency in their own ways as well, which within the sort of confines or the period, you do feel like they have agency in some sense. And I think that was important to show.

Absolutely. They have depth and agency.

MR: Yeah, they all make the choices. And then everything you see in the movie happens because of the choices they make. Whereas usually, even now, when we’re not doing scenes fighting about men, most of the time, you’re usually playing a character that something happens to, and then you watch a movie about the effects of that thing happening to that female character.

AO: They are the decider.

MR: For both of our characters, I feel like we make a choice, we do a thing, and it’s not the right thing in most instances, and then we have to deal with the consequences.

OK, Margot, this does not work unless you and Jacob have the most insane chemistry we’ve ever seen on screen. And you did. I’m always fighting to bring back chemistry, and you guys did it.

MR: Yes! Chemistry and charisma are two things that I’m like, why can’t we have that? That’s what I want in the movies. Charismatic characters or I want insane chemistry,

Was there a moment where you and Jacob were like, Oh, we got it?

MR: There were a couple of moments. Even on day one. [We shot] the first scene in the movie where Cathy flings open the bed hangings, and [Heathcliff is] lying in bed. And then we ended up cutting this bit but I walked up over him, and then crouch down and got like this close to his face and told him to, “get up, we’ve got neighbors,” or whatever it was. And we cut that bit because the proximity is something we wanted to save. But, I mean, that was day one, and even then, everyone was kind of like, “Whoa.” And we were like, “Okay, I think this movie’s gonna work.” Also just because she’s throwing something at him, and he’s throwing it back, and he’s like, “What?” There was already an intensity between them that I think we could build on from that point.

Alison, what was it like watching Margot and Jacob build that chemistry?

AO: Incredible. I kept feeling like I was watching, like an old Hollywood film, like watching Elizabeth Taylor and Montgomery Clift. It really was so incredible to see the two of them just inhabit those characters. It was really special.

We have to talk about the costumes. There were so many moments in my theater that the whole audience gasped at certain costumes. Were there any moments for both of you that you saw a costume you put on and it shocked you?

AO: We had so many costume changes. Every time, in me and Margot’s rooms — we were next to each other and they put us both in our rooms — it would probably take like, half an hour to get into the outfit, and then we’d both come out of the room at the same time and do a reveal. I never felt like more of a girl in my life. I’d come out and be like, Ah!! [mimics screaming]!!

MR: You couldn’t control that reaction if you wanted to. And I didn’t want to, but I couldn’t even if I had wanted to. It was so fun.

AO: [to Margot] Did you have a favorite?

MR: I think my favorite was on the swing. That costume during the swing scene [was my favorite]. It’s got this black velvet bodice, and this like and this like neck thing, and then this bit’s showing, but then it’s like, got this chainwork in pink rose. We replicated these old couple of paintings of women in that outfit. One woman wore it, got painted in it, and then someone else was like, Well, I want that. And then did it as well. I think there’s three different decades apart where they’ve done this. I was like, wow, that lady was the original Kardashian. Like, did she wear something and everyone was like, “I want to wear what she wore!”

I kept feeling like I was watching, like an old Hollywood film, like watching Elizabeth Taylor and Montgomery Clift.
alison oliver on margot robbie and jacob elordi

AO: There’s this shot where Margot is on the swing, and then I think Isabella says something, and [Cathy] twists around. And every time [she] did that, I literally was like, “that’s the most beautiful thing I’ve ever seen.” And I would break character and be like [gasps].

I remember that scene. It’s also a bitchy moment.

MR: She’s such a bitch, and then swings back around [laughs].

This interview was edited and condensed for clarity.

Wuthering Heights is in theaters now.

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Emerald Fennell’s Wuthering Heights opens with a scene I hated so much, I almost walked out of the theater. Don’t worry, it goes up from there! The scene in question is a hanging. Two feet dangle from a guillotine as an onlooker jokes about the lifeless body’s final unconscious act: a hard on. It’s mentioned later that the perpetrator was a rapist. So the glee in which the spectators (including Catherine “Cathy” Earnshaw) gawk at his erect penis while he is strangled to death is justified. I understand the point — that the story about to unfold is equal parts morbid, horny, irreverent, and uncomfortable — but it just felt like a cheap ploy for shock and awe. The good news is that the rest of the film deals with these conflicting emotions more effectively. And Catherine’s (played in her early years by Charlotte Mellington) curiosity for sex and macabre runs throughout the story, creating a fascinating duality of romance and toxicity, the things Emily Brontë’s Wuthering Heights are known for. But this opening scene is very different from the book’s, and it was just one reason (of many) why I’m glad the Heathcliff in Emerald Fennell’s adaptation of Wuthering Heights is white.

Depending on who you ask, Brontë’s Heathcliff is supposed to be Black or Brown, since he’s described in the novel as a “dark-skinned gypsy in aspect” and a “dirty, ragged, black-haired child.” Another description: “as dark almost as if it came from the devil.” In a piece for Vulture called Is Heathcliff White?, Jasmine Vojdani writes that, “The idea that Heathcliff might be of African descent first entered academic discussion in the 1950s and gained momentum as postcolonial studies became more popular in the ’80s and ’90s. Scholars have argued that the proximity of Liverpool — one of the biggest slave ports at the time in which Wuthering Heights is set — to the Brontës’ home in Haworth cannot be overlooked.” Vojdani interviews scholars and tries to get to the bottom of this mystery surrounding one of literature’s most famous leading men. One scholar says, “He is both based on the boy of an Indian ruler who’d been orphaned because of the East India Company battles. But he’s also based on an Ashanti warrior’s son.” Another: “The feeling that he should be of African heritage, I think that is interference coming in from [Brontë] sister’s book. Because we do know that in Jane Eyre, Bertha Rochester is born in Jamaica.” Ultimately, Vojdani decides, “By Victorian standards, he’s definitely not white — and likely by ours as well. Is Heathcliff Black? Maybe! It is both historically and textually viable, but he isn’t necessarily Black.”

We can debate Brontë’s intentions for decades (and clearly, scholars have), but what’s true in this adaptation is that a white Australian man (Jacob Elordi) and a white British boy (Owen Cooper) play Heathcliff. After watching the film, honestly, it’s for the best. I am not encouraging whitewashing, which let’s be clear is exactly what this adaptation and many before it have done, but aside from what implications could be drawn from a movie starring a Black man opening with a lynching, I just don’t think this love story is one I would want to see, or engage in the discourse, if it was a man of color seducing and obsessing over a white woman in this way.

When they are grownups, Heathcliff and Cathy (Margot Robbie) have a tumultuous and toxic relationship. Heathcliff is surly, cruel, and vindictive. He emotionally terrorizes Isabella Linton (Alison Oliver) because he can’t have Cathy. So much so that at a certain point, Isabella crawls on the floor like a dog as he holds onto her collar and makes her bark. While Isabella seems to enjoy this roleplay, it’s uncomfortable to watch. It would take skill, care and precision to pull off this kind of sexual deviance and kink between a consenting couple, let alone between one with a problematic age gap, and power imbalance. I like how female desire is depicted through Isabella, but throw race into the mix and to be frank, I just don’t think Fennell has the range.

Based on what scholars have deduced and what Brontë wrote, Heathcliff was probably Brown, which is interesting considering Fennell cast Pakistani-British actor Shazad Latif as Edgar Linton, Cathy’s husband, who was definitely white in the books. His race is not mentioned in the movie. And neither is Hong Chau’s Nelly (played in youth by Vy Nguyen), Cathy’s live-in maid and best friend, also a white character who is now reimagined as Asian. There’s a brief mention of Nelly’s race, when Cathy’s father says something that implies she should be grateful he took her in. Otherwise, the way race would factor into their volatile friendship is never explored. In another writer-director’s hands, this story would be rife for mining the racial and class tensions of the era. Don’t get me wrong, I’m all for showing flawed characters of color in toxic relationships. They don’t have to be perfect representations of their race. But, again, I don’t think Fennell has any intention, or the competency, to tackle all of that in her work.

You realize early on what Fennell is doing. And that this Wuthering Heights is not a straightforward adaptation; it’s her own personal fantasy. She said as much on the red carpet for the LA premiere: “Everyone who loves this book has such a personal connection to it, and so you can only kind of ever make the movie that you sort of imagined yourself when you read it.” In Fennell’s fantasy, Heathcliff couldn’t possibly be anything but a tall, white man that looks like Elordi. Heathcliff is an object of desire and Fennell’s desires cannot extend beyond her worldview, and clearly, that world is very white. Which is fine, actually. She gets to make the movie she wants to. And I’d rather not watch a story told by a rich, white woman about the twisted proclivities of a Black or Brown man. I wouldn’t want to see it, and I wasn’t holding my breath waiting for it.

I would rather spend my time championing original work from Black and Brown filmmakers and storytellers than wish for a non-white Heathcliff in Emerald Fennell’s Wuthering Heights. I think that’s a waste of time.

I’m not trying to be condescending, I just genuinely didn’t expect a nuanced rumination on class, race, desire, and abuse from this movie. I watched the trailers, heard Robbie and Fennell talk about the movie, and I’ve seen Fennell’s previous films (which I didn’t hate!). I knew what they were trying to do with Wuthering Heights. It’s the spiritual equivalent to the genre of toxic white mess that unfolds in TV hits like Succession and The White Lotus. It’s a continuation of the recent trend of modern, magically race-bent, colorblind retellings of beloved literary works, like Netflix’s Bridgerton and Persuasion, and Apple TV’s The Buccaneers. It was never going to be that deep. But all art is political, so yes, while white filmmakers should know better and do better, I would rather spend my time championing original work from Black and Brown filmmakers and storytellers than wish for a non-white Heathcliff in Emerald Fennell’s Wuthering Heights. I think that’s a waste of time. There is inevitably going to be an onslaught of thinkpieces and TikTok rants dedicated to chastising this casting. Sure, let’s call out whitewashing, but instead of expending all our energy on begging for scraps from white Hollywood, let’s support our own.

I’d rather focus on making sure The Gilded Age gets 17 seasons (its co-showrunner is Sonja Warfield, a Black woman) and the upcoming adaptation of The Davenports (also brought to you by Warfield), gets all the hype it deserves than try to make this Wuthering Heights into something it was never going to be. I’d rather watch Amma Asante’s Belle again and support whatever work she’s got in the pipeline. I’d rather uplift Alyssa Cole, Adrianna Herrera, Vanessa Riley, and the countless other Black and Brown woman historical romance writers than force Fennell to change her warped fantastical version of Heathcliff and Cathy’s ill-fated love story into anything other than what it is.

So let’s get into what is onscreen and whether that is worth your time. This may surprise you, but I actually think it is. When I settled into Fennell’s Wuthering Heights world, and got over the unnecessary shock tactic of that opening scene, I started to enjoy myself. I was entertained. Elordi and Robbie (who the internet also swore was miscast because of her age) are electric together. I think their chemistry makes the whole thing worth it.

In the story that Fennell is telling, their chemistry is the one thing that needs to work, and it does. I believe that these two people would tear the world — and themselves — apart to be together. I also believe that they want to tear each other’s clothes off. They are so down bad for each other, inanimate objects that are slightly sexual set them ablaze. Chemistry often feels like a lost art and it was refreshing to see good, old-fashioned, horny-ass onscreen attraction. And for the first time, I understood the global thirst for Jacob Elordi. While Robbie’s Cathy is spunky, stubborn, and independent, Elordi’s Heathcliff is brooding, desperate, and clingy. He’s a real yearner and this may mean that I need some serious therapy, but I was into it.

A friend of mine went to an early screening of the movie as well and his review was simply, “gowns, beautiful gowns” and he’s not wrong, but I think it’s more than that. The costumes are absurd, but in this cinematic world, that’s a compliment! This movie thrives in absurdity and extravagance. There were moments when Robbie as Cathy walked into the frame and I had an audible reaction to her costume. Sure, at times, that took me out of the story, but if they were going to gasp-inducing costume design moments, they succeeded. Visually, Wuthering Heights is stunning. It nails the gloomy, overcast foreboding rolling hills that the source material describes while also injecting shots of color, humor, and exuberance into the film’s aesthetic. In spite of the depressing subject matter, this Wuthering Heights is more camp than melancholy.

The film will probably never beat the style over substance accusations, understandably, but for me, the performances are the best part. Chau is perfectly exasperated and defiant. Latif is doting and oblivious yet likeable. Oliver is intoxicating and exhilarating to watch. And Elordi and Robbie lean so hard into the “smooth-brained sensuality” of Fennell’s adaptation that it’s not hard to believe they were obsessed with each other on set.

The audiences who show up to the theater on Valentine’s Day hoping for a feel-good romance may leave a bit traumatized (just like I was when I first read Wuthering Heights in high school), but they’ll also buy into the splendor and pageantry of this movie. And they’ll understand why Elordi and Robbie are two of the most in-demand talents of their generation. I do wish that a Black-led, Black-directed film — or one made by and for people of color — was getting the same over-the-top treatment, star-making potential, and budget, but until we start yelling more about why we aren’t seeing those stories greenlit, funded, and released, we’ll be stuck in our own fantasy. Fennell’s warped, whimsical, white-as-hell fever dream may be a compelling watch, but it’s her imagination come to life. I want to imagine a world in which the weird whims of Black and Brown filmmakers are able to be awakened too.

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Shopping for Valentine’s Day gifts for men can be a difficult task. You wanna spend your good dollars on things your dude will actually love rather than mindlessly wrapping up a corny, heart-shaped throwaway. Often that means seeking out items that are part splurge and part personal come Valentine’s Day.

Admittedly, we aren’t experts in “man things” by any means. But when it comes to sourcing highly sought-after products, we have a thing or two to recommend for every budget. If you’re looking to flex your gift-giving skills for your beau — be it your boyfriend, husband, or (ahem) friend with benefits — come February 14, you’ve come to the right place. Ahead, peruse our selection of non-cheesy Valentine’s Day gifts for him that aim straight for the heart.

Oura Ring 4

The Oura Ring 4 is perfect for the guy who is into tracking his wellness but also info fashion. It’s sleek, stylish, and practical.

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Bevel Pro + Pro T-Blade

If you love a clean look on your guy then you want to gift him a Bevel Pro, Pro T-Blade. This is for the guy that cuts his own hair and love a new set of grooming tools

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AeroGarden Sprout, $69.95 $59.95

If your dude is a cook in the kitchen, he can now be a gardener there, too. This indoor garden will let him grow not only herbs but also greens, cherry tomatoes, flowers — whatever fits, really — five times faster than in soil. And what will he do with all that fresh produce? Cook you dinner year-round.

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Theragun Mini, $199 $169

Gym boyfriends (or just tired ones) will quickly become addicted to this mini massager that soothes sore muscles, relieves tensions and knots, and speeds up recovery time after workouts. And the best part? You can borrow it.

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Uncommon Goods Travel Packable Hoodie, $110

Where is a hoodie when he needs one? Right in this portable pouch, that’s where. This easily rolled-up one is made from from recycled coffee grounds and plastic bottles, and it’s water-repellent, odor-resistant, and naturally moisture-wicking, which is a plus — nay, necessity — when he never takes it out of his bag.

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Lelo Hugo Prostrate Massager, $189 $141.75

Sex toys may be the one time women come first. (Sorry.) But the sex tech bros over at Lelo — maker of the “clitorally mindblowing” Sona 2 Cruise, among other prized vibrators — want the guys to feel both seen and…never mind. That’s why they created the powerful, remote-controlled Hugo, a prostrate massager that’s as good for partnered sex as it is for solo play. And it’s 25% off during the Lelo Valentine’s Day sale.

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Material The 8″ Knife, $80

Whether his chopping skills belong on The Bear or resemble an actual bear’s, any man who cooks could probably use a nice, new knife. And this 8-inch blade from Material is as nice as they get at this price point. It’s cut from three layers of stainless Japanese steel that’s corrosion-resistant, which means it’s not only sharp but also low maintenance.

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Adidas Gazelle, $100

These iconic suede kicks have experienced a real resurgence in the past few years. (It’s also the official concert shoe of Harry Styles.) If your guy doesn’t have a pair of his own Gazelles yet, perhaps V-Day offers a perfect opportunity to right that wrong.

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Barbour Wax Leather Tarras, $200

For a guy that goes into the office just about every day of the week, this stylish waxed canvas and leather briefcase will surely soften the blow of his daily commute.

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Merrell Men’s Hydro Runner, $80

If your guy is an urban adventurer, these slip-on Hydro Runners are sleek, comfy, and ideal for airing out damp feet. It’s sure to become his go-to shoe for any excursion.

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Uniqlo Round Mini Shoulder Bag, $19.90

At $20, this crescent-shaped bag is far more stylish than a fanny pack and surprisingly packs a whole lot in. It also comes in nine pleasing colors to satisfy whatever your S.O.’s palette may be.

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PlantedCulture407 Matte Black Mini Basketball Planter, $60

Gift him a planter that exudes personality. Bonus points if you can present this basketball vessel with a leafy plant already in it!

Shop PlantedCulture407 at Etsy

Campers Wabi Grey Slippers for Men, $110 $99

If you have never stuck your foot inside a Camper shoe, you know how comfy they are. He’ll want to wear these cozy slippers all around the house — and probably outside it. Now, that’s exactly the kind of gift you’d want to give (and receive).

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Burrows & Hare Wool Knitted Tie, $148

If your S.O. doesn’t already have a skinny knit tie, V-Day is a great occasion for a put-together but casual accessory.

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Everlane The ReNew Transit Catch-All Case, $35

This super affordable Dopp kit is a must for your frequent traveler — it’s made of 100% recycled polyester with a water-resistant finish.

Shop Everlane

Dagashido Assorted Japanese Junk Food Snack Pack, $20.95

Because chocolate is overrated.

Shop Dagashi at Amazon

Bose SoundLink Micro Bluetooth Speaker, $119

Mini speaker, big sound. This high-tech gadget is engineered to keep up with all of his tunes, workout playlists, podcasts, and more.

Shop Bose

BlendJet 2 Portable Blender, $99.95 $49.95

Got a smoothie king in your life? If so, he’ll definitely make good use of this easy-to-clean single-serving blender.

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Parmed Leather Gloves, $120 $70

Upgrade his regular knit gloves for a pair that’s made of high-quality leather.

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Hydro Flask 64 oz. Wide-Mouth Vacuum Bottle With Flex Cap, $64.95 $38.83+

Love is helping your guy stay hydrated with the help of a trendy, oversized aluminum water bottle that’s beloved by TikTok-ing teens.

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Le Labo Santal 33 Body Lotion, $79

Because you’re the one who’s inhaling his pheromones most of the time, gift him with a luxury scent that will also make you swoon.

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L.L.Bean Boat and Tote, $29.95+

Chances are, your guy has a stash of totes that are dirty, tattered, and threadbare. Luckily, L.L.Bean’s iconic canvas boat totes are sturdy and made to last.

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T Play Plush Basketball Pillow, $15.99

Nothing quite accents a couch like a playful basketball pillow.

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Bonobos High Pile Fleece Jacket, $179 $69

Fleece jackets are wonderfully always on-trend, but chances are that your beau doesn’t have one in a colorblock print.

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Recreation Center Grid Mug, $40

Get this unique, hand-made mug for the coffee (or tea) lover in your life.

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Nintendo Switch, $299

Some men really love their video games. Why not indulge them?

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Calvin Klein Cotton Classics Slim Fit Crew Neck T-Shirts (5-Pack), $69.50 $55.23+

The Calvin Klein slim-fit crew neck is a cult classic among men. Replenish your boo’s drawer with this unstoppable tee.

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Minolta MND30 30 MP / 2.7K Ultra HD Digital Camera,$99

For the guy who is always capturing the moment.

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New York might be painfully cold, but that hasn’t stopped the fashion pack from dressing up and descending on the city’s icy thoroughfares.

From boxy blazers to leather trenches, this season’s street style is a lesson in mastering outfits for freezing conditions — but it’s the haircuts that are really catching our attention.

Butterfly layers, blunt bobs, and grown-out pixies are just a handful of the cuts we’ve spotted so far, and as the week continues, we’re expecting plenty more.

In need of some haircut inspiration? Look no further.