Warner Bros. will test the commercial ceiling of prestige romance this Presidents Day weekend as Wuthering Heights opens nationwide in what is shaping up to be the first major box office corridor of 2026. Industry tracking indicates a projected $70 million–$80 million global debut, with domestic estimates ranging between $40 million and $50 million over the four-day holiday frame, positioning the adaptation as the clear leader among new releases. The film launches in roughly 3,600 North American locations and across approximately 18,000 screens worldwide, a scale that signals Warner Bros.’ intent to treat the title as a mainstream event rather than a niche literary play.
The financial stakes extend beyond the opening weekend. Warner Bros. reportedly secured the project for around $80 million, prevailing over a significantly higher streaming offer said to be in the $150 million range. By opting for a theatrical-first strategy rather than a guaranteed buyout, the studio effectively wagered that global box office upside — supplemented by premium formats and downstream revenue windows — could outperform a one-time streaming sale. For that bet to be validated convincingly, analysts suggest the film would likely need to clear at least $250 million worldwide, with stronger results approaching $300 million placing it firmly in win territory.
Pre-release tracking shows Wuthering Heights performing strongest among women over 25, followed by women under 25, making it one of the more clearly defined female-skewing releases in recent memory. That demographic profile aligns well with the Presidents Day and Valentine’s corridor, traditionally favorable ground for romance-driven titles. First-choice tracking among women reportedly lands in the range of successful female-forward openings from recent years, suggesting solid awareness and intent within the core audience. The marketing has leaned heavily into the epic romance between Catherine and Heathcliff, foregrounding the pairing of Margot Robbie and Jacob Elordi, while emphasizing the intensity of Emerald Fennell’s interpretation of the Emily Brontë classic.
The competitive landscape appears relatively favorable. Sony’s animated sports feature Goat is tracking around $20 million over four days and will primarily target families, while Amazon MGM’s crime thriller Crime 101 is projected near $15 million and skews toward men over 25. Holdovers, including Disney’s Zootopia 2, remain in the marketplace but do not directly compete for the romance audience. With no major female-skewing alternative opening simultaneously, Wuthering Heights is positioned to dominate its demo, though overall marketplace totals for the holiday may trail last year’s Presidents Day corridor.
Critical reception sits at 71% on Rotten Tomatoes, reflecting generally favorable reviews without the level of acclaim that guarantees strong word of mouth. For a romantic drama adaptation, that distinction is important. A debut near the higher end of projections would reflect effective marketing and star pull, but sustained performance will depend heavily on audience response. Literary purists could prove unpredictable, as Fennell’s stylized approach has already generated discussion online. That discourse, however, has also fueled awareness, echoing the kind of cultural conversation that surrounded her previous work.
Internationally, Wuthering Heights rolls out day-and-date in 79 territories, including major European and Australian markets. Premium formats such as IMAX and Dolby Cinema are expected to meaningfully support grosses, with ticket upcharges playing an increasingly critical role in driving global openings toward the upper projection range. The U.K. market, given the source material’s heritage, could become a particularly important contributor. China does not factor prominently into early expectations, placing greater weight on Western Europe and English-speaking territories.
Star power remains central to the upside case. Margot Robbie’s theatrical résumé includes both high-profile disappointments and one of the most dominant box office runs in recent memory with Barbie. Her producer involvement adds another layer of ownership to the project’s positioning. Elordi, entering the release window with heightened awards visibility, broadens generational reach and strengthens appeal among younger female audiences. Combined with Fennell’s reputation for provocative storytelling, Wuthering Heights carries both prestige and pop-culture momentum.
If the domestic opening lands above $45 million and second-weekend holds prove steady, a worldwide total north of $250 million appears achievable, with stronger legs potentially pushing it closer to $300 million. Conversely, a softer debut near the lower end of projections, coupled with divisive word of mouth, could cap the global run closer to the $200 million range. In either case, the performance will be closely watched as an indicator of whether adult-skewing literary adaptations, powered by A-list casting and premium rollout strategies, can scale theatrically in a marketplace increasingly dominated by franchise tentpoles.
Ultimately, this weekend represents more than a chart-topping opportunity. It is a referendum on Warner Bros.’ decision to prioritize theatrical upside over streaming security and a test of whether prestige romance — anchored by recognizable IP and contemporary star appeal — can still command meaningful global scale in 2026.
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