A new wave of readers, driven by the upcoming film adaptation directed by Emerald Fennell, are revisiting Emily Brontë’s Wuthering Heights —and they’re not finding the “greatest love story of all time” the trailer promises. Instead, Gen Z is encountering a brutal exploration of class, obsession, and abuse, sharply contrasting with Fennell’s apparent emphasis on sexualized drama.
The BookTok Backlash:
The controversy ignited when Fennell’s trailer, set to Charli XCX’s “Chains of Love,” suggested a steamy reimagining of the classic Gothic novel. Readers quickly took to platforms like TikTok (BookTok) to express skepticism, arguing that the film fundamentally misunderstands Brontë’s intent.
“Don’t expect a love story,” warned Rachel Florine, 24, in a viral TikTok. This sentiment reflects a broader concern that Fennell’s adaptation will prioritize sensationalism over the novel’s complex themes.
Brontë’s Original: Trauma, Not Romance:
The core of the debate lies in the stark difference between the book and the marketed film. Wuthering Heights is not a romantic tragedy; it is a cycle of vengeance fueled by societal prejudice. Heathcliff, described by Brontë as a “dark-skinned gipsy,” suffers systemic abuse and marginalization before enacting his brutal revenge. This racial subtext, set against the backdrop of the British slave trade, is a key element many fans believe Fennell is overlooking.
The novel’s violence is psychological and emotional rather than erotic. The most “heated” moment involves “seven or eight kisses on his cheek”—a far cry from the masturbation and BDSM promised in promotional material.
Generational Perspective:
Younger readers, like Paloma Labossiere, 27, describe the book as “one of the hardest” to read, not because of its heat, but because of its unrelenting darkness. Hailey Denise Colborn, 25, emphasizes the book’s unreliable narration and the need for critical engagement with its cruel characters.
Rachel Florine sums it up: “I deeply disliked both Heathcliff and Catherine due to their cruelty and selfishness.” This rejection of the romanticized narrative is central to the new wave of interpretation.
Creative Liberties vs. Disrespect:
Despite the backlash, Fennell’s film is projected to perform well commercially, with Warner Bros. anticipating $70–80 million in global revenue during its opening weekend. Some, like screenwriting graduate Hailey Colborn, acknowledge the creative freedom inherent in adaptation.
However, many fans see the film as a cynical marketing ploy—using the title of a literary masterpiece to promote a generic, overhyped romance. “It feels like Fennell is using the title for promotion,” says Rachel, “and to reach a bigger audience than she would have if she just released this movie as her own spicy and fun star-crossed lovers story.”
Ultimately, Gen Z’s re-engagement with Wuthering Heights highlights a critical disconnect between the source material and Fennell’s vision. Whether the film will be a faithful adaptation or a sensationalized reimagining remains to be seen, but the debate has already confirmed that Brontë’s novel is far from the romantic fantasy the trailer suggests.
