One of the most thrilling race experiences of the year is coming up fast, and you won't want to miss it. MotoGP Red Bull Grand Prix of The Americas is the only North American round of the world's premier motorcycle racing championship, and it's speeding into Circuit of The Americas on April 8-10, 2022.
On deck for the three-day event is a lineup of MotoGP, MotoAmerica, Moto2, and Moto3 racing, along with the North American Talent Cup, which will be there for the first time.
Two fan zones will be packed with the FMX Motorcycle Stunt Show, Red Bull athletes, motorcycle vendors, and amusement rides, while the newly expanded Lonestar Land will have mouthwatering Texas barbecue, music, and amazing photo opps.
Fans can even take a parade lap on the track with fellow motorcycle enthusiasts in front of thousands of cheering fans with a Geico Cycle Coral package.
The insurance company is also providing free motorcycle parking, or you can roll up in an RV and set up camp mere steps from all the action.
The coolest part? You could win a pair of premium grandstand seats located at Turn 15. Simply head to CultureMap’s Instagram and like this post, follow both @culturemaphou and @cota_official, and tag your race-day buddy for the chance to win. We'll select and notify the winner on Wednesday, March 30.
Of course, if you don't want to take any chances, you can purchase an array of ticket options, ranging from $42 general admission grandstand seats to the Ducati package, which includes a "taste of Italy" food sampling and the chance to take your Ducati for a lap around the world-famous COTA track.
Jacob Elordi and Margot Robbie in Wuthering Heights.
Emily Brontë’s 1847 novel Wuthering Heights is one of those classic books assigned in high school English classes, and it has received a number of film adaptations over the years — each of which differ in numerous ways from the source material. Purists won’t receive any reprieve from Emerald Fennell’s 2026 adaptation, with a title that is stylized as "Wuthering Heights”for good reason.
Cathy (played as an adult by Margot Robbie) and Heathcliff (Jacob Elordi) have known each other their entire lives, with Cathy’s alcoholic and inveterate gambler father (Martin Clunes) taking in Heathcliff on a whim when he was a boy. The two bond as they grow up together, although Cathy always seems to have an eye on moving up in society from their relatively impoverished lifestyle.
Cathy finally gets her wish when the rich Linton familyled by Edgar (Shazad Latif), moves in down the road, Despite discovering she has feelings for the now grown-up Heathcliff, Cathy sees Edgar as her way out and agrees to marry him. A scorned Heathcliff flees, returning years later as mysteriously wealthy. His reappearance ignites something in Cathy’s soul, and the two engage in a perhaps unwise affair.
Fennell (Promising Young Woman, Saltburn) infuses the dusty material with an energy that’s not typically present in stories set in this particular time and place. Aside from the occasional Charli XCX song (the singer created a whole concept album for the film), the film looks and feels like a period piece, albeit one that doesn’t get bogged down in the drudgery that can sometimes come from films set in the distant past.
Much of that has to do with the lust the filmmaker puts into the story. Even if you’re not familiar with Brontë’s book, you can rest assured that Fennell has strayed far from the text, giving Cathy and Heathcliff thoughts and actions unthinkable in the 19th century. Fennell plays with expectations by opening the film with audio featuring creaking noises and a man grunting, conjuring up a situation far different than what is actually happening, and she also makes liberal use of rain, sweat, and tears to make the actors enticing.
What she can’t do, however, is make the two lead characters compelling. Cathy is a striver who never seems to know what she wants out of life, and Heathcliff goes from a bore to a brute over the course of the film, with no clear indication that he likes anybody, much less Cathy. Anyone expecting some kind of grand romance will be disappointed as Fennell is much more interested in making the film weird, like having the walls of Cathy’s room look like her skin, complete with freckles.
Robbie and Elordi do well enough with the material, and it’s clear that both of them are committed to bringing Fennell’s vision to life. Their styles tend to balance each other out, and if the story had been committed to their characters’ relationship, they might be lauded for their chemistry. In the end, though, the supporting actors feel more interesting, including ones played by Hong Chau, Alison Miller, and Clunes.
This version of Wuthering Heights should never be construed as an alternative to reading the book for any high schoolers out there. While Fennell makes the film interesting with her technical filmmaking choices, the story never finds its footing as it fails to sell the one thing that it seems to promise.
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Wuthering Heights opens in theaters on February 13.
