Charli XCX’s "Wuthering Heights" fever dream

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Check out the latest episode of a Touch More wherever you get your podcasts and on YouTube. Picture this, it's Northern England, early 1800s. The fog is blowing over the moors, the wind howls. The rain beats your crowd, further obscuring the view ahead, where through a rock outcropping in the distance, as a shrouded figure, he moves closer to you.

He's rough-hewn, but surprisingly handsome, he's wearing a fine blazer with elbow patches and dark grim glasses. It's a musicologist who has found great wealth.

He's cleft, I'm sorry, I'm sorry, and he's the object of your affection.

Nothing can separate you, you and the musicologist are one being traversing these endless moors together away from the trappings of society and your soundtrack by these haunting sounds. Together, you will music logically to code these sounds with woodering insights. We've got a press pause, I need a cool glass of water, that was electric, Charlie.

Welcome to Switched on Pop, I'm songwriter Charlie Harding, I'm musicologist, Nate Heath cleft, Sloan. Yes, to be correct, Heath cleft, yes, got okay, just a cleft, base cleft, probably. Not triple cleft.

I believe base cleft is correct.

Yes, it's weathering heights, the emerald finnell adaptation of the Emily Bronte book from 1847, the film stars producer Margot Robbie, as Katherine Ernsha and Jacob Lorty, as Heath cleft, the orphan and life-long lover of Katherine. This film is a cultural moment scored with a soundtrack by Charlie Xiex and her producer collaborator Finn Keat.

So this is the movie that everybody's talking about, with a soundtrack that is as haunting and horny as the movie, let's listen to the marriage of film and sound and hear how this tragic romance of the ages has got everyone all hot and bothered.

“Pop Quiz, Heath cleft, have you read the original book?”

I have not. Can I give you a cliff notes, a cliff notes, a cliff notes, thank you, yes, or Heath cleft notes, that's the other way to go. But yes, please. The puns are getting mixed, the metaphor is we'll get mixed.

Brandon, can we get some sweeping scoring here for this section, please? Exactly. We've got two of states in northern England, in Yorkshire, often the moors, we've got on one hand, the thrust cross-grange, a vast estate owned by the wealthy Lenton family. And then on the other hand, weathering heights, a dark and decrepit, working farm that is

home to the Ernsha family had been there for hundreds of years. The book is like a fever dream, with these nested stories and unreliable narrators. It's this multi-generational romantic conflict with class battles. The story's most obsessed over plot is the relationship between the tempestuous, young, beauty, Kathy Ernsha, and her doting and sometimes violent life-long companion Heathcliff,

who is an orphan who's brought into her family. She denies their love at one point in the book, marries the wealthier Edgar Lenton from thrust cross-grange and enters a world of the trappings of wealth. The fallout is this broken romance that causes intergenerational trauma and endless heartache and haunting.

It is what they call a gulfic novel about obsessive love, scandalous in its time, even pand, but its story has endured serving as the inspiration for over 20 or so screen adaptations. So this adaptation is released in quotations, quote, weathering heights, unquote. The director Emerald Finnell wanted to make the version that her teenage self-pictured or even fantasized about.

It focuses on the core romance of these young lovers, over the ages, in a very surrealist atmosphere, and speaking with the Victoria and Albert Museum Finnell described how she wanted to approach this film.

“What's important to me is like building a world, building an imaginative world, and the”

Gothic is pathetic fallacy, which doesn't just extend to the weather that everything, everything we talk to, everything they wear, everything they see, everywhere they go is a reflection of their emotional landscape. This is a very deliberate film that is an act of emotional world-building where every detail

Yes. Emerald Finnell called Charlie to write a song, instead, Charlie Xiex decided to write an entire album, a standalone album that also sounds tracks the film, and she recorded it while she was in the middle of the Brat Tour as a brief reminder. Brat gave people permission to be messy on the dance floor.

“I think that this soundtrack gives people permission to be messy in their souls.”

There's probably no one bradier than our lead character, Kathy Earnishaw. No wonder that the trailer to the film even featured music from Brat, they played this song everything as romantic and the teaser trailer for the movie, and it's clear that Charlie has fully internalized Finnell's vision for this weathering heights.

You can hear really the grand thesis in the second verse of her song Always Everywhere.

This is a song about wanting to be at home with your love and your dark, decrepared weathering heights home, and yet constantly pulling away not being able to fulfill the love of your life, and it's all occurring in a fever dream. Literally in the lyrics right there, it feels like a fever dream. What is a fever dream to you, Nate?

A fever dream, you know, when your temp gets up to 102-103, you start having these crazy visions, you know, kind of the reality and fantasy melding into one. Yes, exactly. Let's hear how Charlie builds this fever dream romance on the soundtrack for weathering heights.

We'll start at the very top, the beginning of the first song called House.

Nate, that's all you got. I mean, Charlie, you said haunting earlier, that's the best adjective I could use to describe

“this opening. There is a sound that is kind of hard to identify. Is it like a rusty weather vein?”

You know, rotating slowly in the wind, or is it a violin being bold, soul-pantichella? I couldn't say, but it's very unnerving. Charlie Xiex didn't feel that differently when she first heard these sounds. Here is how her producer collaborator Finkeen describes them in conversation with Spotify. We talked with love out like the industry to use strings, but then we didn't want to make

it this like, you know, super lush or crystal sound that would just feel kind of wrong for the film. The idea was to have sort of strings that were quite rough sounding, so like when we were playing with the players, we'd have them play very close to the bridge and create this quite harsh sound. We'd have like quite a small ensemble so you could hear like the details of all the string players,

“and it would just sound much more rough and sort of textured. When you were recording strings in”

LA yourself, sometimes I would like to walk in this video. And it sounds like so bad.

It is not a pretty sound. I have to pat my own back for a second. When Finkeen was talking

about playing close to the bridge, that's the term you use, soul-pantichella, literally like underneath where the strings are supposed to be played, giving that ure like rough sound full of harmonics. Anyway, you hear the hair of the bow, it's very organic, it's very creepy. It feels like a horror soundtrack more than a romance soundtrack. You can see why Charlie XCX was like, "I don't like that." But it's perfect because the original takes place, like I said,

the Georgian era, this is maybe in the Regency or Victorian era. The film is not historically accurate intentionally, but clearly we're trying to evoke some kind of past. And so like strings are definitely the way to go. Many of the film adaptations of this movie have used giant romantic string orchestrations, but there's something very different when you get really close your way up close to the mic and you can just hear that hair of the bow feels both

beautiful and old and something new and creepy. It only gets creepier from here in the songhouse. I just want to explain. That's the voice of John Kale of the avant-garde rock group, the velvet underground. And he narrates the introduction to the album and the introduction to the film. You're saying, "Hey, take a moment with me. I need to explain what's going on. I thought my whole

life was going to be perfect. But something seems wrong."

And he's famously the violinist as well, so that hearing that violin is so appropriate as a

sort of prelude to his wizard's gravely voice. Well, the way that he tracked the violin's for the velvet underground was a fundamental influence to Charlie in the entire aesthetic approach to this album. Cool. Here's Charlie Xiex again from that same Spotify interview, talking about the first time that she watched the Todd Haynes documentary about the velvet underground. And within that John Kale speaks about how, whenever he was recording strings for the velvet

underground, it was kind of essential that they'd be both elegant and brutal. That phrase really

“stuck with me and Finn and I were talking about that a lot and I think that's something that we”

really wanted to kind of bring into the world of the music that we were creating. elegant and brutal at the same time. That is so Charlie Xiex, someone who's known for brash over the top pop vocals through so much auto tune against a cold cavernous reverb but songs that feel really real and personal at the same time. Let's hear what happens when John Kale and Charlie Xiex collide later into the song House. I mean that's so epic. That's so good. The name for that giant

sound is called a bram. It's a thing that composers do to introduce a big sudden terrifying moment.

“Yeah. And it isn't on a monopy. Yeah. Damn. Oh my gosh. That's fascinating. Charlie, I've never”

heard that term but I've heard it. I mean like arguably the Dune soundtrack is like 56 brams, generally. There are definitely a lot of brams going on in the Hans and Ross soundtrack for Dune but the or text of the bram is another Hans Zimmer soundtrack, the one for inception. Yeah. It became such a big sound that countless films since have copied the bram. Transformers. After all, we have done. That man versus Superman, Dawn of Justice, Immortals, Oblivion,

Rogue One, Legion, Traum Legacy, GIGO, Stranger Things, Battleship, Avengers, Dr. Strange, Pacific Rim, Warlord Z. That's a mash up YouTube by the creator of Metzy. So the bram is just quintessential soundtracking, which is a funny way to enter this entire soundtrack because in many ways it's really marketed more as an album. So this is house is really just the beginning. It's setting the scene. The film opens up actually with the public watching a hanging,

then like camera panning off to the really terrifying home, weathering heights, which is surrounded by dark cliffs. Often the windy foggy moors. The home is covered in black shiny rock. It's made to look like it's almost perspiring. It's very claustrophobic and we have this very cinematic opening

“with house. It is probably more brutal than it is elegant. I think we're going to hear more of”

that combination of elegance and brutality to paint this fever dream as we move through some additional songs. And I want to go next to Wall of Sound. What are you hearing in the introduction to Wall of Sound?

I mean, first of all, more strings seem to be a theme here, like an organic strings to like a real

live orchestra. And you know, also on that organic tip, I hear a lot less autotune in Charlie's voice than we heard on an album like Brad. It's a more naked version of her voice here. Yeah, definitely very raw. So we have the elegance of the strings. Maybe a little bit of the voice being slightly in it. Again, one more brutal. The strings, though, they have that same earlier quality. It's, you know, played really close to the bridge. It's close mic. And they're doing this technique

And they're sort of like going in and out of opposite directions. Maybe this is too far reaching,

“but it kind of sort of has the feeling of like two people wandering through the more is trying”

to find each other. Never quite finding each other. And that's kind of what's going on in the

movie at this point. This cue comes in a pivotal moment when these young lovers are starting to flirt. They're playing pranks on each other. And fast forwards into their adult selves, where there's this very romantic, violent scene where a shivering Kathy is sitting by a fireplace, but there is no wood. And so Heathcliff picks up a chair, smashes it to make her firewood. It's a very aggressive act of love. And a few scenes later, this is where things get really hot and heavy.

“She has this whole sexual awakening scene. And they are maybe going to make the whole relationship”

official, but she just keeps second guessing herself. Every time I try something inside stops me,

it's like, it's that thing of like, you know, you're an adolescent in love and you're like, I'm going to try to ask somebody out, but I'm going to totally fumble it. And we're going to turn this romance into this completely unnecessary, long drawn out thing in this case of the film for the entirety of their lives. Charlie is so good at projecting confidence and awkwardness simultaneously. Yes, she's wearing this on her sleeve.

[Music]

Unbelievable tension going out here. Just desperate. Tell me that you need me in the voice

transforms from that various sort of raw vocal we heard at the beginning to this completely reverb doubt. It is such a cold and frozen kind of reverb. She feels like alone and frigid running out into the Moors of England. And it's also making reference to a larger body of music. The song is called Wall of Sound. Wall of Sound, the recording technique innovated by Phil Specter when he was producing songs for the thrill-building girl groups like The Crystals and The Ronette.

[Music] You fill the entire frequency spectrum with sound. You've got like this dense wall when you're listening on speakers. It just sounds like a Mac truck driving into your ear drums. It was a way of your music kind of standing out on the radio dial. You could hear that sound instantly. And it's also kind of the sound of all-consuming overwhelming love. Another example with some

great naturalism and geological scenes would be the Phil Specter production on iKontina Turner's

“River Deep Mountain High. Geological scenes. I believe you mean, yeah, believe you mean to”

rography, actually. But topographical scenes, but you point as well, take it. I continue to turn our singing about obsessive love. Charlie XX is singing about obsessive love. Both have big gorgeous orchestras. Overwhelming reverb. We are of incredibly different areas. But I think that wall of sound is a perfect metaphor for this film, where you are surrounded by this dense fog and overwhelming love, a fever dream like romance. But this wall of sound

takes a bit of a different turn on the biggest hit on the album, chains of love. Here we are again in the mores, windy synths, reverse sounds, and chains slamming. More strength too. Oh yeah, so that thwack, which kind of has the feeling of like throwing

Not the string part of the bow, but the wooden part of the bow, I think. It's called Colenio.

“You'd kind of whack it down with the wooden part of the bow to create that percussive effect.”

Does it also have that like, what is the Bartocpitzacado? Bartocpitzacado is different. That's where you pull the string so hard that it slaps against the neck of the instrument when it comes back down. But Colenio is something you hear in like barely oats is symphony, when he's trying to conjure up like goblins and gremlins. We have that brutal and elegant sound happening once again. This very dark and haunting romance.

Did you catch what you was singing here? It was like, no. I'd rather lay down in thorns. I'd rather drown in a stream. I'd rather light myself on fire. Since like, if I can't be with you, I'm willing to endure the worst torture. And why is this happening? Well, because our heroine, Kathy, is trapped in the wrong relationship. The relationship of convenience with Edgar Linton, who she does not love, is awkward, bad romance. And this song plays in the film at

a moment of a, there's some amazing montages in this film. There are some shoes visually. And

she's playing yard games, going to parties. It's very sort of mad hat or montage of drinking tea and living this lavish life, which is not of her upbringing with the wrong guy. And so what's going on is that she is trapped by the chains of love. So she's a prisoner, kind of in two different ways. She's a prisoner to this relationship. She doesn't want to be in. But also there's the chains of her lover, Heathcliff, who is off

in the distance, who's disappeared from her. He's runaway. And all she wants is to be back with him.

“And I think we get that, again, the fever dream romance, the elegance, the brutality is all here. You”

have those enormous sort of 80s drum sound tracking, this power ballad, but those creepy strings are still hunting in the background. I love the continuity of sounds that we're getting throughout this record. So shine a light through the fog for me for a moment, Charlie. All right, do any of these songs appear in the film? I'll tell you, this is what we're hearing during that montage. We are hearing this song at that key moment where it's like, it's a song that,

you know, it's one of those songs, if you're not listening to the lyrics at all, you might think, oh, this is like a slow ballad, it's got some power, it's got some heft, it's exciting. It's very much in contrast to the over-the-top beauty and glamour of the montage of her living this fancy life marriage of the wrong man. But of course the lyrics belive her outward appearance. Yeah, I wasn't sure if it was the case for like maybe some of the musical cues appeared,

but you didn't hear the full chorus. So I'm really struck by the idea that this entire song, like suddenly emerges into the world of this, you know, 19th century, British pastoral. I love the idea that that mash-up. It works because the film is so stylized.

“Like nothing about this film is trying to be real. And so I think that the soundtracking”

absolutely fulfills that creative vision. The song that I think best captures the obsessive quality of this romance is a track called "Out of Myself." And I think that it's interpreting one of the most famous lines from the novel. There's a moment when Katherine says, "I am Heathcliff,"

that like basically that they are one. They have merged. She is no longer herself. It is an all-encompassing

ocecotic kind of love. And Charlie XX paints that picture with the song "Out of Myself." You can hear it in the chorus.

There is a lot of degrading, sexual activity happening in this movie.

So we have pushed my cheek into the stone. There is a pivotal scene of finding each other in the moors. There's some other great lines here in the next verse. I'm willing to endure all kinds of physical pain and torture for the way that you make me feel. In the chorus we had also heard her sing, "Put the rope between my teeth. There is a scene in the film where there's some interesting sort of play-acting like horses in the barn, if you want."

So that's cool because I feel like if you're watching or seen the movie, these lyrics conjure up

those viewing experiences. And if you haven't, then there's something really intriguing and mysterious

“and a little bit dangerous about this song. We've even got many brands in there too, right?”

They're not full brands. They're not like deception brands, but they're like brown light or something. The strings are kind of exploding upwards. There's these quivering synth stabs. And I think also work pointing out the chords or not resolving. It's just sort of stuck in motion.

And yes, the brands are there, pushing us along. The brands that had outlined this creepy

house where we're clearly going to die. Now have a very uplifting moment in this beautiful the romantic song which ends in a way that you're not so sure that things are as transcendent as they seem. To be taken out to transcend oneself could be ascending beyond this life. And you can hear there's some underlying dissonance happening in those strings that they are intentionally kind of rubbing against each other going in and out of tune. And that leads us to the last song I want to

listen to together. It's the final song from the album. It also plays at the end of the film. This is Funny Mouth, co-written with Joe Curie, who has been on the show twice, no way. And oh yeah, yeah,

“I think it's a perfect way to wrap up the fever dream.”

Hyperpop strings. They really understood the assignment here. I'm very impressed. The lyrics are on point. Everyone sleeps, everyone wakes up. Again, in their original book, there's all these moments of the narrator falling asleep, waking up and seeing ghosts. The fever dream narrative is in the film as well, which all sorts of people will get sick with

flu and are on their deathbeds and this idea of like when when we fall asleep and when we're dreaming, where the boundary of reality and a fantasy live, that is where the song lives. It has that the elegance of the strings, the brutality of the hyperpop reduction of fin keen, the pervocal being the perfect in between of both brutal and elegant. And I think that's

“exactly what's going on in this movie. We hear this song. I believe in the ending as well as a key”

moment where there's a sneaky kiss taken during a funeral when a black veil is lifted for a very morbid kiss. I don't think there's a lot of people that could be asked to provide an original score/soundscrack for a modern adaptation of a 19th century Gothic romance. And it's just the part of it be both atmospheric and haunting, but also melodic and catchy capture the aesthetic of this bygone time. Well, also like hitting all the markers of

it's it's it's pretty. My hats, I take my, you know, top hat off to them for that one.

Charlie Xiex is not the only person to have been inspired by this text. We come back. Let's take a look at how her rendition stacks up against some of the other great adaptations of the past. But what I wanted to tell you, my not-the-camp-thick-a-gantuan-studium semester-by-tag-laptor-bücher-soft-behind-the-internet

“is a master's real-time. Ah, you can say that you're a hero. You're a hero, right?”

But you're not a hero. Egal, it's just a challenge. You're a hero. You're a hero. You're a hero.

And when you then go, you're a hero. That's right. Save. You're a hero.

Hold it, you're a hero. Now you're a hero. Because every generation has unfulfilled and unresolved romance. And that feeling is going to outrun any single musical trend or genre. So we need to keep coming back to this work. We're going to listen to some of the best versions of the past

“and think about how they stack up. Before we listen to some of the more pop-style offerings,”

I want to just get a taste of some of the early Hollywood soundtracking. One of the best adaptations of weathering heights was the 1939 version starring Lawrence Olivier, and Earl Oboron, the soundtrack which was composed by Alfred Newman, was nominated for Best Original Score at the Oscars. Here is the lush romantic score of Alfred Newman from 1939.

That is old Hollywood grandiose, gone with the wind style, like painted sunset on the back of the sound stage, that kind of vibe. Let's check out a really different approach to soundtracking the film. The 1992 adaptation with Ray Fines and Juliet Manoche, the score was made by the great late Japanese composer, Riotshi Sakamoto, the emotion builds. Oh, that was cool.

In contrast to the Newman score, Sakamoto's piano chords are unsettled. They modulate. There's something a little darker under the surface. It's almost too fast. It begins with these very sweet tonal, a little melancholic melodies and they're very, you know, somewhat predictable. And then you get that weird, a tonal, modulated turn all of a sudden. You're like, "Oh, boy, this love is not a good love, but you know what is a great love is my love for Kate Bush,

who has probably the most famous rendition of the of weathering heights. She has a song, weathering heights from 1978, and we would be remiss if we didn't take a listen."

Great exposition to begin out here from the winding, Windy Moors, my god. What an amazing opening line.

“The harmonies are as windy and windy as the lyrics are. What is going on there?”

Yeah, this song is like a music theorist wet dream. We start in the key of a major. Luckily, we have music colleges. Heathclaf with us. But then the next chord we get once Kate Bush enters with her vocal out on the winding, when he moors it's like a to this F major chord, which is not part of the key of A, down to E, that's chill. But then C sharp major, another chord that does not belong to the key. So

just in these two measures, we're traversing all these like different kind of landscapes.

this winding wind swept harmony. And then we get to the chorus. Chuck, can you spin a little

“that for us? Yeah, for sure. What a thing of the ghost of Kathy. Let me in your window,”

Heathclaf. And at this moment, we have another shocking modulation. We were in a major. We moved to D flat minor in the pre-chorus. And now we're going to D flat major. What is happening here? It's all over the place. Transcending all the emotions. Like in the same way that the contemporary film paints emotions with wallpaper. This is painting

this circular and unhealthy relationship through harmony. And yet it's also kind of like what Charlie

was doing. So catchy and singable. And like how he gets stuck in your head, even though it's a little weird and unsettled. Going into the chorus, I realized that this might be spontaneous co-creation, but I do wonder if some of the later interpretations of whether in heights were maybe model a bit off of Kate Bush. I'm not sure, but check out this sort of this cadence. These chords that she plays as she's going into the chorus. It's like a sus for chord.

Sus for gives us this feeling of being suspended. We need resolution. And is that what we heard

“in the circumoto? Right there, right? What about in Charlie XCX's funny mouth?”

Here comes right here. Yep. Yeah, there it is. What the ring. What the ring. What? I wonder if some folks were nodding to Kate Bush a little bit. I know that in the filming of the movie, Jacoba Lorty had talked about interviews that they would play the Kate Bush version on set. So clearly the inspiration in the in the in the water in the air. Yeah. Okay, I have one more version of weathering heights that I want to play for you that I hope will take you by a bit of surprise.

Even Heathcliff could not be prepared for this revelation. What is happening right now?

“Celine Dion's it's all coming back to me now written by Jim Steinman inspired by”

with a ride. Yeah, get out of here. This song originally Steinman's collaborator meetloaf.

You may not know this, but bad out of hell by meetloaf sold 43 million copies

worldwide making it one of the best selling albums of all time written by his musical collaborator Jim Steinman meetloaf wanted Celine Dion's it's all coming back to me now. Jim Steinman actually sued meetloaf to prevent him from recording it. And instead gave it to Celine Dion. He knew it had to be in the voice of a woman according to Steinman. He said there's a great archive of his interviews and texts on his website. He said that it's all coming back to me now is my attempt to

write the most passionate romantic song I could ever write. I was writing it while under the influence of weathering heights which is one of my favorite books. The song is an erotic motorcycle. It's like Heathcliff digging up Kathy's corpse and dancing with it in the cold moonlight and you can't get more extreme operatic a passionate than that. I was trying to write a song about dead things coming to life. I mean, is there anything more elegant and brutal and fever dreamy? I mean, it's all

coming back to me now. Take a listen to the beginning and it's like you're back on the moors. A little bit of a piano bram. Yeah. Strings. Wind. Windy more is indeed.

This is one of the most over the top. Absolutely ridiculous romantic songs I've ever heard and

“I'm sorry Charlie XX, but I think that this might be the pinnacle. It definitely would not be appropriate”

for the film. It's about Valentine's Day 2026. But what other version of a weathering heights inspired song includes, yes, Nate. Slave else. Merrish. Grouse. I think that's a link at Grouse like that. Wow. And when you vanish, it's also a very like Gothic concept. I'm very curious though, because you actually made a reference to another great Hollywood film. Do

you remember which that was? A great Hollywood film. Classic Hollywood. Gone with the wind.

Oh wow. Oh way. We are gone with the wind. We've got some castinets. We've got some guitar going round, which is the motorcycle in the music video. If you haven't seen the music video, it's wow. It's wow. We might need to do a Jim Steinman episode at some point. Yeah. I mean, this is really one of the best power ballads of all time. That's quite a reveal.

“You really sometimes you have these little aces up your sleeve and I'm like, oh what?”

This is going to be anti-climactic. But that truly shook me to my core. This is weathering heights

Celine Dion connection. When people ask me how do I feel about the adaptation of weathering heights, I'm going to say, I had a blast. I love the music, but nothing compares to the 1996 music video. If it's all coming back to me now, inspired by the same text. What do you think we have to keep returning to weathering heights? Book about life, 200 years ago. I think there's certain texts that speak to us in different ways at different moments in time. And it was cool to hear the

1930s soundtrack next to the 1990s soundtrack because I feel like that's such a good example of

“that. The same film can have a different meaning depending on how it relates to”

what's happening in the world at the time of that adaptation. And maybe there's something elemental about this story, about this landscape that we keep coming back to and keep uncovering new interpretations and new insights. I'd like to think that we keep going back to weathering heights for the same reason that we keep writing love songs. It's because we are insatiable. We are feverishly obsessed by love in the same way that Catherine and Heathcliffe

are obsessed with each other. We just can't get enough love songs. Is there a better love story full of the great romance and the great heartbreak of life? I don't know. It's almost like the chains of love are the ones that shackle us to these songs, Charlie. The chains of love are what shackled me to musicologists. Heathcliffe can be back podcasting every single week. I'm glad you brought it back to your dramatic romance novel intro for me because

I actually am a character in a romance novel. What? Yeah, I occasionally am inclined to google myself. And for a long time before I made a name for myself in the world, if you google Dave Sloan, what would come up was a character in a romance novel called The Cowboy and The Cossack by Merlin Lovelace. And the main of the Heathcliffe in that novel is named Nate Sloan. I can't believe that I'm going to be sharing this with the public, but the top search result for my

name was a now retired adult film actor. And so don't google it. Don't don't don't don't do it. You and I might have our own little woodering heights narrative. Who knew? I feel like we're just giving more fuel for the slash fiction out there, but we got, got to be real about clearly something, clearly something very erotic about about our name, something carnal that we can't totally explain. Okay, credits. I'm not sure that these people want to have these credits now,

Amanda Farlin, illustrations by Iris Gottlieb, our theme music is by Josie Adams, Zack Anario,

“of Arc Iris, remember the box video podcast that we're comparison of. The whole tour, which is part”

of New York Magazine, subscribe at mmag.com/pod. We want to hear your thoughts on weathering heights

and Charlie XCX's soundtrack sound off on our social media at switched on pop or our subsac chat.

“You can subscribe to our subsac by going to the show notes or to our website,”

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and so this has actually been over 400 episodes, a deepcon, deep deep, deepcon, please send us to thrust cross-grange and buy some merch on the website. We should have a bodice wrapper on the merch site. Let's start writing one you and make it. All right, that's what we got for this week. We're going to be back again next Tuesday and until then, thanks for listening. It's sad and so creamy. Hey, we can then pop the creamy sign.

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