‘Wuthering Heights’ Review: Emerald Fennell’s Emphasis on Longing

The most 2026 element of the latest screen adaptation of 1847’s hottest novel, “Wuthering Heights,” is the scene in which Heathcliff repeatedly asks the young lady he’s undressing, “Do you want me to stop?” even as she writhes with lust, indicating an affirmative response is unlikely.

Previously understood as a notorious brute even by 19th-century standards, Heathcliff now exhibits signs of having earned perfect grades in today’s campus training modules.

There’s also a reference to septicemia, which is writer-director Emerald Fennell’s perhaps too-technical stab at explaining the nonspecific Victorian disease that afflicts one character.

Mostly, however, Ms. Fennell has done an admirable job of not modernising a dark and moody romance. If most of today’s filmmakers crave hearing, “This is not your mother’s (fill in the blank)” when adapting classic material, this pretty much is your mother’s “Wuthering Heights,” or at least one she will recognise.

Catherine Earnshaw, played with great soapy gusto by Margot Robbie, is still the same judgment-impaired social-climbing drama queen as ever, and Ms. Fennell frequently associates her with a rich, decadent red—the colour of the bordello—to suggest that she has unwisely traded her body for riches.

Ms. Fennell, who won an Oscar for writing the feminist parable “Promising Young Woman,” doesn’t bother suggesting that Catherine is a victim of society’s impossible expectations for women, which allows her to focus on the core story without intrusive mutters of disapproval for 19th-century mores.

The plot is a template for every Harlequin romance about a woman caught between a sexy beast and a languid but wealthy wimp.

Catherine, who lives with her frequently drunken father (Martin Clunes) on a struggling Yorkshire estate called Wuthering Heights, grows up with a wild, apparently orphaned boy adopted by her father after being found hapless in the street.

The boy at first doesn’t even talk, and seems to have no name, so Catherine calls him Heathcliff. As an adult, he is played by Jacob Elordi , an excellent match for Ms. Robbie, both in comeliness and star power.

The pair grow up best friends and even sleep in the same bed. The desperate attraction between them is evident to both, but Catherine has her sights set on a higher-status mate than this mere stable boy.

After much figurative and literal peering over the walls of the posh neighbouring estate, Thrushcross Grange, she twists an ankle and becomes a six-week houseguest of the gentleman who owns it, the wealthy Edgar Linton (Shazad Latif). He lives with his ward, Isabella (Alison Oliver). Heathcliff, in agony, moves away without notice while Catherine marries Edgar.

Ms. Fennell has greatly streamlined the complicated plot of Emily Brontë’s novel, eliminating the framing device, the supernatural element, several peripheral figures and a second generation of characters.

Other adaptations have made similar excisions, and yet the latest version is luxuriantly long, fully half an hour longer than the much-loved 1939 film by William Wyler that starred Merle Oberon, Laurence Olivier and David Niven.

Ms. Fennell is a millennial who might have been expected to make the material slick, hip or at least fast; she has done none of that.

The story is a slow burn, as it should be, an extended sonata of moaning winds, crackling storms, smouldering glances and heaving bosoms. When you’ve got two actors as luminous as Ms. Robbie and Mr. Elordi, you don’t need them to say clever things, and they don’t.

Having simplified matters, Ms. Fennell sloughs off the psychological depth of the novel and instead lavishes attention on the heavy breathing and the decor, exhibiting much interest in the ornate mansion in which the Linton family lives (one room is set aside for ribbons only) and the costumes and accessories with which Ms. Robbie is gloriously draped.

Catherine essentially becomes a character in a Sofia Coppola movie who grows increasingly trapped and anguished in proportion to her cosseting. A slate of songs by Charli XCX captures Catherine’s tragic self-absorption without seeming jarringly modern.

The movie is very much aimed at female viewers, and Heathcliff (whose bare-chested form Ms. Fennell’s camera adoringly takes in) is less robustly drawn than in some previous iterations, driven mainly by carnal lust rather than a more all-encompassing rage.

Olivier’s demonic anger at the world came through clearly, whereas Mr. Elordi’s Heathcliff seems as though he’d be content to simply peel away Catherine from Edgar. And though Nelly (Hong Chau), Catherine’s maid and confidante, plays an essential role in developments, her character remains a bit frustratingly hazy.

Still, in the wake of adaptations such as 2012’s “Anna Karenina,” with Keira Knightley , and 2013’s “The Great Gatsby,” with Leonardo DiCaprio, that were all sizzle and flash, “Wuthering Heights” is a worthy throwback.

Deeply felt longing is its own kind of sizzle.

Ben Broca launched a company last December that offers AI tools to entrepreneurs. He’s already added 10,000 paying customers and is on track to bring in $10 million in revenue this year.

One thing he hasn’t added: any other employees.

The 40-year-old is part of a class of entrepreneurs who are launching, and then often running, new companies on their own. Artificial intelligence tools answer Broca’s emails, help write and debug code, field requests from customers, sign up new subscribers and grant refunds when issues arise.

Broca relishes his ability to make whatever decisions he wants on his own, often from his sun-drenched Sausalito, Calif., living room. “I think compromises make lukewarm results,” he said.

Once upon a time, running a business of a certain size required a team. AI is turning that assumption upside down, and more aspiring entrepreneurs are going it alone.

Ben Broca sitting in his home office. — Tech has seen an explosion of solo founders in the past year. Broca said he likes being able to work at his own speed, unencumbered by a team. Jonah Reenders for WSJ

An analysis by the payments company Stripe shows there are thousands of solo operators on the company’s platform that are generating over $1 million in revenue, with their ranks doubling between 2023 and 2025. The number of solo operators crossing the $10 million threshold nearly tripled in that same span.

In the past, people without business contacts or particular savvy might not have known how to get their ideas off the ground, said Ernie Tedeschi, Stripe’s chief economist. “Now, AI can be a built-in business partner,” he said.

AI’s ability to handle various administrative tasks makes it potentially useful for launching solo businesses in many fields. But the technology’s ability to also handle key tasks in tech, like coding, make that field a particular hot spot.

Analyzing Census Bureau data, Bank of America Institute economist Taylor Bowley found that among all industries, new business applications in the information sector have seen the biggest percentage increase—nearly 45%—over the past year. At the same time, the rate of information-sector applicants saying they plan to hire workers has experienced the sharpest decline of any measured industry.

This Census dataset doesn’t track solo-operated businesses. But the numbers broadly show—in tech and beyond—that applications are flat among businesses likely to hire workers, but generally rising elsewhere. Economists say that’s a strong sign that solo operators are on the upswing.

“The bar for getting started has never been lower,” said Julian Weisser, who runs a San Francisco-based accelerator for solo founders working in tech. The accelerator—which offers founders seed money and mentorship in exchange for an equity stake—attracted 4,500 applicants for 10 slots made available in its most recent cycle, nearly five times the number it drew when it launched last May.

Going it alone with AI can still be surprisingly expensive. Broca said he was losing money on many customers’ accounts while paying to access Anthropic’s Claude to run his clients’ requests—that AI company, as well as others, charges based on usage. He has since switched to free open-source AI models from China.

Broca said he has raised $30 million from investors and, at the same time, has saved millions in salary since he hasn’t needed a team of software engineers.

Another risk: If it’s easy for one entrepreneur to launch an AI-assisted business, copying them can be easy, too. This creates anxiety for founders like Troy Johnston, who runs an AI-assisted business alone in Orlando, Fla.

“Everybody has the sword and we all have the ability to unsheathe Excalibur now,” said Johnston, 40, who used AI to code an app that helps people get the most out of credit card benefits. The company makes around $3,000 a month in profit, with no employees, and is continuing to grow.

Troy Johnston said AI’s power and ease of use is an incredible boon for entrepreneurs like him—and also a double-edged sword. Luann Koerper

What one-person businesses will mean for the labor market remains to be seen. Polling has shown Americans are worried that AI will replace jobs, and top economists are wrestling with that possibility, too. But AI is also creating lots of new jobs, and the go-it-alone entrepreneurs show how the technology can both open doors and limit employment opportunities.

“If everyone’s hiring less, but you get four times more firms, what does that do to head count?” said Rembrand Koning, an associate professor at Harvard Business School who studies entrepreneurship. He co-authored a recent study that found that among 50,000 startups the researchers examined, those focused on AI tended to operate with 25% fewer employees.

Koning also believes a soft hiring environment that’s left some people mired in long job searches has encouraged more to try their hand at launching businesses.

Some founders cite different motives. “It’s a perfect storm of post-pandemic burnout and a re-evaluation of one’s priorities, and also booming AI and a sense of what’s possible,” said Samir Ahmad, 39, who lives in Breinigsville, Pa.

Two years ago, Ahmad decided to leave the corporate job he had worked at Verizon for almost two decades to start a solo coaching and consulting business. He had been seeing social-media posts touting the ease and virtues of AI, which he used to chart a business plan and help with marketing. “It was like my chief of staff, a second in command,” he said.

The business ultimately petered out within months, though, and Ahmad is now back to a full-time corporate role with a utility company.

For Claire Vo, 41, AI helped her turn a passing impulse into a business. She was working full-time as a tech executive when she tapped AI in late 2023 to help code an app that would help her manage documentation and design for new products, with customers ranging from financial services to healthcare firms.

“I was copying and pasting from ChatGPT,” said Vo, who lives in San Francisco.

Claire Vo smiling into the camera while recording a podcast. — Claire Vo used AI to code an app that’s on track to make seven figures in profit this year. Claire Vo

She put the app online for $1 a month, and within weeks people downloaded it thousands of times. Nearly three years later, Vo’s company—which she ran solo for nine months before hiring an engineer—now has 100,000 users and is on track to make seven figures in profit this year. AI handles the company’s marketing, sales and customer support.

While AI is a shortcut, Vo said her network and credibility in the industry were key. “I think people over-index on how easy AI is and under-index on how much I did to get to this point,” she said.

‘Wuthering Heights’ Review: Emerald Fennell’s Emphasis on Longing

Margot Robbie and Jacob Elordi star in an adaptation of the classic novel that respects the romance’s slow burn.