Wuthering Heights: Emerald Fennell’s Film Sets 2026 Date as Charli XCX Rumors Swirl

A 2026 date, a starry cast, and a rumor the internet can’t quit

Emerald Fennell’s take on Wuthering Heights is officially on the calendar, with a trailer confirming Margot Robbie and Jacob Elordi and a release set for February 13, 2026. That much is solid. What isn’t? Talk that Charli XCX is attached to the soundtrack. As of now, there’s no confirmation in studio materials, the trailer notes, or from the artist’s camp. The speculation is loud, but the paperwork isn’t there.

The project itself is a pivot with momentum. Fennell went from the stylized revenge thriller Promising Young Woman to the social-bite spectacle of Saltburn, and her music choices have consistently driven conversation. An orchestral “Toxic” cover helped define Promising Young Woman’s mood, while Saltburn’s needle drops—most famously “Murder on the Dancefloor”—spilled out of theaters and back onto global charts. With that track record, it’s natural that fans are already treating the soundtrack for this gothic romance as a character of its own.

Cast-wise, Robbie and Elordi give the film the kind of marquee glow studios want for Valentine’s season. Elordi’s reunion with Fennell after Saltburn adds a through line of creative trust. And Emily Brontë’s tale of obsession, class, and ruin has a built-in audience after decades of screen versions. The new trailer confirms the essentials—Fennell in the director’s chair, the leads in place, the date locked—without revealing deep plot choices or a musical direction.

About that Charli XCX chatter—and why the soundtrack stakes are high

Here’s the basic state of play: there’s buzz linking Charli XCX to the film’s music, but no official source has said she’s scoring, supervising, or contributing original songs. No studio press brief, no label announcement, no on-the-record comment from Fennell or Charli. Until that changes, treat it as a fan theory.

Why does the rumor have legs? Timing and fit. Charli’s recent pop run and her knack for sharp, high-gloss hooks made “Speed Drive” one of the standout pieces of the Barbie roll-out. Before that, she delivered “Hot Girl” for Bodies Bodies Bodies—proof she can write to a brief and cut through noisy marketing cycles. Pair that with Fennell’s proven instinct for music that shapes narrative, and the combo looks believable on paper—even if it’s not confirmed in reality.

There’s also a bigger industry pattern: pop-forward soundtracks are now part of the launch strategy. Billie Eilish’s Bond theme set a tone before a single plot spoiler dropped. Lady Gaga’s Top Gun: Maverick ballad became a campaign pillar. Dua Lipa’s turn on Barbie—and a cameo—helped the film dominate playlists as much as the box office. In that context, a high-profile artist attached to Wuthering Heights would make strategic sense.

So what should you watch for next? Two signals usually land before the final trailer: a festival premiere announcement, and a music brief naming a supervisor, composer, or lead contributors. Track lists tend to arrive four to twelve weeks ahead of release, especially if a deluxe soundtrack or multiple singles are planned. If Charli XCX is involved, you’ll likely see a coordinated rollout with cover art, credited producers, and a release date for a lead single.

How to separate signal from noise in the meantime:

• Check official studio or distributor press summaries for credited music roles.
• Look for on-the-record statements from Emerald Fennell or named producers.
• Watch the artist’s own channels for artwork, single titles, or producer tags.
• Expect industry trade confirmation when deals are closed, not just rumored.

Bottom line: the film is real, the cast is set, and the date is circled. The soundtrack conversation will heat up—because in a story built on obsession and longing, the right songs can do as much damage as any line of dialogue. Until the credits are public, though, Charli XCX’s role remains a question mark, not a headline.