When Emerald Fennell's "Wuthering Heights" arrives in theaters next year (just before Valentine's Day), it will mark the 16th time Emily Brontë's gothic romance novel has been adapted to film. The work has also been gloomy grist for television, the stage (as a play, a musical, and an opera), a graphic novel, and lord knows what else since its publication in 1847. The most famous version of "Wuthering Heights" to date is unquestionably William Wyler's 1939 film starring Laurence Olivier and Merle Oberon, which was refashioned into a classic Hollywood romance by genius-level screenwriters Charles MacArthur, Ben Hecht, and John Huston. Given its significant plot omissions, this is one of those movie adaptations that will get students in hot water with their English teachers, but, hey, at least they'll get to watch a classic piece of cinema boasting gorgeous cinematography from the great Gregg Toland.Why do artists keep revisiting "Wuthering Heights?" It's a downer of a novel with two terribly annoying main characters. But it's so overwrought that, if cast correctly (or reconsidered by a writer with a unique take on the book), it can really cook as a bodice-ripper. Or you could play it like director Andrea Arnold did in 2011 with stars Kaya Scodelario and James Howson and transform the novel into a rainswept saga of tortured, downright cruel passion.You've no shortage of options when it comes to "Wuthering Heights," but while you're waiting to see Margot Robbie and Jacob Elordi steam it up as Cathy and Heathcliff, you might want to check out the 2009, two-part television version that featured Tom Hardy as the tormented main character.Made for the United Kingdom's ITV network, the 2009 screen take on "Wuthering Heights" from director Coky Giedroyc and writer Peter Bowker was greeted with a bit of a shrug, but it could be ripe for reappraisal 16 years later, if only for Hardy's performance. In her review for The Guardian, critic Kathryn Flett aired her frustration with the novel's swing from "bonkers" to "boring" (a structural flaw fixed in Wyler's movie) and correctly dings it for being a "quasi-romance." These qualities make it impossible to make a truly loyal movie based on "Wuthering Heights" — or, at least, one that would be bearable.Still, Hardy can make just about anything watchable, and if you're determined to go against Brontë's depiction of Heathcliff as being "dark-skinned," you'll get an electrifying performance from one of our finest actors (who has a penchant for vanishing into roles). Per Flett, his "smoldering stoicism" is nicely complemented by co-star Charlotte Riley (who later became Hardy's real-life partner and will soon appear in Travis Knight's live-action "Masters of the Universe" movie), while the supporting cast is up to snuff. This rendition may not overcome the problem of the book's difficult second half, but, as far as I've seen (and I've not watched every single "Wuthering Heights" adaptation), only Wyler and Arnold have pulled off that trick.In any event, if you feel moved by the Hardy spirit after watching all 142 minutes of this "Wuthering Heights," I'd recommend you shift genre gears and check him out in the criminally underrated 2014 crime thriller "The Drop." There's nothing mopey about that movie, and he's never been better. (Jeremy Smith)
Wuthering HeightsIf you somehow escaped high school without reading Emily Brontë's 1847 gothic classic "Wuthering Heights," now is the perfect time to tick it off your reading list, ahead of its newest film adaptation releasing on February 13.The film stars Margot Robbie and Jacob Elordi as doomed lovers Catherine and Heathcliff, who are torn apart by societal expectations, time, illness, resentment, and guilt.But since this is an Emerald Fennell movie (director of "Saltburn" and "Promising Young Woman"), you shouldn't expect a run-of-the-mill book-to-film adaptation. (Gabbi Shaw)
For so many, Pride and Prejudice is a gateway drug into the wonderful world of period dramas. From other Regency-era romances (see: Bridgerton or countless other Jane Austen adaptations) to moody Gothic love stories (Jane Eyre—need I say more?), the English countryside is replete with cinematic inspiration. Naturally, this makes the island the perfect holiday destination for period-drama fiends everywhere. [...]Haddon Hall, one of the best-preserved medieval homes in all of England, offers a glimpse into the vibrancy of the Tudor era, complete with stone pathways smoothed out from 900 years’ worth of visitors and grand galleries framed with original Elizabethan wood carvings. Naturally, the moody location has appeared in a multitude of film productions, including The Other Boleyn Girl, Mary Queen of Scots, The King, and three different adaptations of Charlotte Brontë’s Jane Eyre. [...]Those who have the means might consider booking a private guided tour for easy access to all preferred destinations. Expedition Yorkshire curates thoughtful single and multiday tours across York, Edinburgh, London, and more, allowing travelers to see the country through a local lens. Some expeditions also focus specifically on locations that may be of particular interest to period-drama buffs. (The Brontë tour, for instance, would be an ideal day for anyone with an undying love for Heathcliff.) (Chelsey Sanchez)
“Well, if there’s anything I can do for you—watch Heathcliff, send takeout . . . If there’s anything I can do to lighten your load, just let me know. I’ve already taken you off the Curriculum Management Committee and the Committee Oversight Committee.”“Thanks,” I mutter, bewildered, as always, at how my studies of Brontë and Dickens novels prepared me for such gripping daily tasks. [...]Last fall was such a bright star for me when The Heathcliff Saga film premiered and my book spent several weeks on the New York Times bestseller list. Writing that book six years ago, postpartum, kept me sane. I gave everyone A’s that semester. With the hormone shifts, lack of sleep each night and an insatiable Heathcliff hanging off my breast, I’d escape into my alternative Wuthering Heights world. In my book, Emily Brontë’s love-triangled teenagers learn that Heathcliff inherited warlock powers from a distant Yorkshire ancestor. My Linwood is less milquetoast than the original character. He bastardizes ancient Fae supernatural powers from the moorlands and starts a spell war with Heathcliff. Cathy, caught in the middle, asks Nelly Dean to train her in the supernatural arts. She teams up with Heathcliff, helping him purge Linwood’s magical darkness for good. There’s lots of teen angst, desperate kissing, and disengaged parents. The adults churn butter and argue with no idea their teens could destroy Great Britain with their dark fairy arts war.My literary agent, Sarah, took me on and sold the book in two days. I loved my editor, my only complaint being that he wanted to change the title from The Cathy Saga to The Heathcliff Saga. I groused. After all, I wanted my heroine to be the book’s star. But he said “Cathy” wasn’t distinct enough—it sounded like the comic-strip character—and he wanted my Heathcliff to be the new Edward Cullen.
Third Space Theatre presentsby Polly TealeThe Sir Thomas Allen Assembly Rooms Theatre, Durham10 December 2025 - 12 December 20257.30PMA powerful historical drama and literary biopic that follows the sisters’ lives from their childhood through to their ultimate deaths as they navigate personal struggles and creative ambition amidst the oppressive patriarchal limitations of the 19th century.Set in their isolated home on the Yorkshire moors, the play begins with the return of their brother Branwell, dismissed from his job and spiralling into addiction. As the sisters are left to care for their father and keep the household together through grief and hardship, they turn to writing as an escape, the result of which would become the infamous novels that came to define them and the lines between fiction and reality begin to blur as their characters begin to come to life and haunt their creators.
Emerald Fennel's latest flick – an adaptation of Wuthering Heights – isn't even out yet (it's scheduled for release on Valentine's Day next year), and it's already been sending shockwaves through the internet (for more reasons than one). First and foremost, its leading duo Margot Robbie and Jacob Elordi are unusually picks for the literary classic, and stills from the film set have caused outrage amongst the book's puritans. Of course, the steamy trailer soundtracked by a now-viral Charli XCX remix have also caused quite the stir too.But if you simply need to get your fix before February, we have curated a list of films we love that match that vibe: steamy, classic, perhaps some not-so-close-to-the-source adaptations that made us re-fall in love with a story. Find out pick of 7 films like Wuthering Heights below.1. Romeo + Juliet (1996)[...] It's exactly the kind of film we know would have been on Fennel's [sic] mood board for her adaptation of Wuthering Heights. Robbie even said to press: "I went to the cinema to watch Romeo + Juliet eight times, and I was on the ground crying when I wasn’t allowed to go back for a ninth. I want it to be that."2. Marie Antoinette (2006)[...] Very in the vein of a Wuthering Heights film soundtracked by Charli XCX.3. Atonement (2007)[...]4. Titanic (1999)This may seem random, but Margot Robbie told press: "In one of our first conversations about this film, I asked Emerald what her dream outcome was. She said, ‘I want this to be this generation’s Titanic." So, there you have it. It's another epic love story of ill-fated lovers – we can see the similarities here.5. Saltburn (2023)If you're looking for more of Fennel's madness, then definitely make a pitstop at Saltburn. The 2023 film altered brain chemistry in more ways than one – and sent Sophie Ellis Bextor's 2000s hit Murder on the Dancefloor soaring up the charts again (along with Mason and Princess Superstar's Perfect (Exceeder)). It's got all the Fennel-isms we're expecting to see more of in her take on Wuthering Heights: excessive nudity, steamy romance, dramatic deaths and pop song nostalgia.6. The Beguiled (2017)[...]7. Picnic at Hanging Rock (1975)[...] It's haunting and sensual – themes mirrored in Wuthering Heights – following the story of a rural summer picnic where a few students and a teacher from an Australian girls' school vanish without a trace. (Cassandra Dimitroff)
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ARTICLES
Welcome by Sharon Wright, Editor.
Letter from the Chair. Lucy Powrie. Chair of the Brontë Society Board of TrusteesHow a Brontë movie starred in a landmark legal battle in Hollywood by Sam HarrisonGazette Exclusive: The Brontës Return to the Main Street by Sharon Wright
From Page to Place by Linda Green
Mass Wuther
'The Invietation of Dreams' by Nicole Joseph
Home for the Summer
Close-up on the Collection: Emily Brontë, Byron and Brussels by Ann Dinsdale
Doing the Literary Locomotion by Murray Tremellen
The Brontë Bookshelf: Material Witness by Eleanor Houghton
Ellen Nussey - the woman no-one could silence by Graham WatsonMembership Matters: Paper Free for the AGM / Members'Area update / Getting in Touch / Dates for Your Diary by Hayley Pink, Development OfficerGhosts at the Door by Linda PiersonDirectors' Diary by Rebecca Yorke AMA Director, Brontë Society and Brontë Parsonage MuseumHeathcliff's Christmas Cake by Jennie HoodDiary of a Parsonage pants pioneer... by Maria van Mastrigt
What may surprise many is the village's unique literary connections, particularly to the esteemed Brontë sisters. It's thought that Charlotte Brontë's fondness for Hathersage, following her visit in 1845, inspired the settings and characters in her celebrated novel, Jane Eyre. (Emily Malia)
'Lovely' Yorkshire town perfect for getting people in the Christmas spiritLocals in Haworth are full of praise for the town around Christmas time. (...)There are other things to see and do in Haworth as well, from visiting historic sites linked to the Brontë sisters, to the Keighley and Worth Valley Heritage Railway. Added together, its a beautiful village, and it's sure to get anyone into a Christmas mood. (Sebastian McCormick)
The atmospheric moors above the village of Haworth formed the inspiration behind the writings of the Brontë sisters. More specifically this walk focuses on Wuthering Heights: dark, desolate but magnificent.There are a number of car parks in Haworth. Choose one and head towards the church and the Brontë Parsonage. It is worth visiting the Parsonage before the walk to gain a feel for the tough upbringing the siblings had. In turn, this will bring a greater appreciation to the walk.The path heads up the south side of St Michael and All Angels Church, an impressive building where the father of the Brontë sisters, Patrick, was Reverend for 41 years (and rather sadly outlived all six of his children). (Jonathan Smith)
To Walk InvisibleBBC4, [Wednesday, December 10] from 10pmSally Wainwright, the writer behind Riot Women, Happy Valley and Gentleman Jack delivered a beautiful and powerful film about the Brontë family in 2016. It highlights the multiple health problems of Anne, Charlotte and Emily, their brother, Branwell, and father, Patrick, plus the sisters’ spells as governesses and their efforts to get books including Jane Eyre and Wuthering Heights published. (John Dugdale)
I kept imagining what it would be like if any of those characters went to therapy. Since that’s technically not possible, I am sending them to therapy myself, discussing their wrongs and giving my unsolicited advice on how to improve themselves.HeathcliffHeathcliff’s main issues include childhood trauma, abandonment problems, unhealthy romantic obsession, revenge addiction, unresolved anger issues, and even a gambling addiction. What he did wrong was making revenge his lifelong mission, ruining the lives of innocent people, forcing marriages, believing in ghosts, physically abusing multiple characters, and neglecting his own son. His therapy goals would be to resolve his traumas, learn how to cope with his emotions without hurting others, show affection without obsession, set life goals that don’t revolve around revenge, and most importantly, learn how to be a good parent. (Read more) (Delis Kalanova)
Y esa curiosidad dispersa y fértil se cuela también en sus libros, donde conviven la historia, mitología gallega y las referencias literarias que han marcado su vida. «Soy fan absoluta de Jane Eyre, Cumbres Borrascosas, Otra vuelta de tuerca, Frankenstein.... Y también de Los pazos de Ulloa. Quería hacer algo gótico victoriano, pero con alma gallega», explica. (Begoña R. Sotelino) (Translation)
On this episode, Mia and Sam are joined by Bradford Young Creative and poet Noor Afasa! Noor has been on placement at the Museum as part of her apprenticeship with Bradford 2025.
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by Nicola FriarASIN: B0FY3XLBLN (ebook)October 2025On a bleak midwinter’s night, author Clara Redfern sits amid the wreckage of her unfinished stories with only silence and self-doubt for company. But when the shadows stir, from the darkness step the ghosts of the Brontë siblings, each bearing a lesson from beyond the grave. Drawn into visions of past, present, and future, Clara must confront her fears as the spirits attempt to show her the power of her words — and the price of letting them fade.Shadows of the Sisters: A Midwinter Haunting is a gothic tale of inspiration, regret, and the spirits that dwell in every writer’s heart.
"Reading and books were a huge part of my mum’s life. Both my mum and my step-dad (playwright and screenwriter Beverley Cross) read voraciously,” he smiles. “So it’s always been part of my life. And now more than ever, because our attention spans are so scattered by technology, it’s really important.”Which explains in part why the 56-year-old, whose roles have included Bond villain Gustav Graves opposite Pierce Brosnan in Die Another Day, Mr Rochester in the BBC’s Jane Eyre and, most recently, lawyer Archie Moore in The Split, as well as Poseidon in the Disney+ series Percy Jackson and the Olympians, is so passionate about Give A Book. (Matt Nixson)
That doesn’t mean that the director and star own anyone an apology, or that they don’t have the right to deviate as much as they want from the book. It’s not as if the previous film versions have been exactly faithful — with many of them, going back to the 1939 rendition starring Laurence Olivier, even cutting out half the plot. And Hollywood adaptations of novels take liberties as a rule, as evidenced by Guillermo del Toro’s portrayal of “Frankenstein,” which includes new characters and major plot points, along with a somehow alluring Elordi in the lead role.But it is worth saying that there’s a definite ideological divide between the Hollywood powerhouses and the dedicated fanbase of Brontë’s “Wuthering Heights.” Anyone who has read the novel knows that “Wuthering Heights” is not a romance: It’s a warning. And marketing that as “the greatest love story of all time,” as the film’s promotional materials have, doesn’t do justice to its author’s brilliance — with all due respect to Nicholas Sparks. (Elaina Patton)
Kaiyue HeScottish Literary Review. Association for Scottish Literary StudiesVolume 17, Number 2, Autumn/Winter 2025 pp. 145-165Muriel Spark was obsessed with the Brontë sisters, their house, their literary careers and their afterlives. Although critics have commented on the relationship between Spark’s critical and biographical studies of the Brontës and her own emerging writing practice, few have compared them in depth. This essay classifies Spark, the Brontës, and their female characters as mythmakers, governesses, and tigresses, exploring female authorship and autonomy in the nineteenth and twentieth century and beyond. Spark engages with and imitates the Brontës’ ways of establishing their literary career and fame, but she assumes a critical distance from the Brontës’ solipsism and their self-mythologising process. Spark also moves beyond the Brontës’ scope and discusses women’s claims for their own agency in an increasingly globalised and mediatised consumerist society.
Jeanne BarangéRomantisme, 210 (4/2025) 'La Politesse'Cet article étudie le lien entre politesse et sentiment national dans le roman de Charlotte Brontë, Jane Eyre (1847). La représentation de la politesse, dans ce roman, fait écho à l’élan national qui a lieu au XIXe siècle pour définir l’identité anglaise. L’oeuvre présente Jane comme une figure marginale qui, par son cheminement de l’enfance à l’âge adulte, trouve progressivement sa place dans la société anglaise. Initialement rabrouée pour ses réactions passionnées et comparée à une étrangère, elle apprend à maîtriser les conventions pour mieux les déconstruire. Cet aller-retour entre docilité et impertinence permet au personnage de négocier à la fois sa position dans la hiérarchie sociale et sa position en tant que femme dans la société victorienne. Par la représentation du rapport ambivalent que Jane entretient avec la politesse, le roman célèbre la notion d’Englishness, tout en questionnant sa définition . (This article explores the link between politeness and national sentiment in Charlotte Brontë’s novel, Jane Eyre (1847). The representation of politeness in this work reflects the national impetus to define Englishness during the 19th century. The novel presents Jane as a marginal figure who, as she journeys from child to adult, gradually finds her place in English society. Initially reprimanded for her impassioned responses and compared to a foreigner, she learns to grasp the rules of decorum in order to better deconstruct them. Switching between docility and impertinence enables her to negotiate her position both in the social hierarchy and as a woman in Victorian society. In its representation of Jane’s ambivalent relationship with politeness, the novel showcases the concept of Englishness while questioning its definition.)
Inside a cavernous church on the outskirts of London’s Hampstead, an expansive suite of musicians sit in pin-drop silence. Then, as a conductor’s baton is raised, they pick up their violins and cellos and begin to play a grand, sweeping score. In the adjacent recording studio, I sit and watch them through glass, as monitors before me show the scene that this goose-bump-inducing music will eventually accompany: a climactic moment of Emerald Fennell’s Wuthering Heights. Here’s Jacob Elordi’s brooding, muttonchops-sporting Heathcliff and opposite him is the tragically doomed love of his life, Margot Robbie’s blonde and ethereally beautiful Cathy. [...]The first officially released photo showed Elordi’s finger entering Robbie’s open mouth, along with a few tufts of grass (twisted, earthy eroticism forever a Fennell calling card). Then came a flurry of paparazzi photos from the set, which featured Robbie drifting across the moors in a sumptuous if somewhat off-kilter wedding dress. (Per costume designer Jacqueline Durran, an industry titan – Atonement, Pride & Prejudice – it’s a style that marries Victorian and 1950s fashion, and references both the portraits of Franz Xaver Winterhalter and the wasp-waisted elegance of Charles James.)The gown raised questions around period authenticity, which were swiftly answered by a deliciously off-the-wall first trailer, a sweaty, sensual, skin-crawling, deliberately fantastical fever dream with glossy red lacquered floors, heaving bosoms and more outlandish, eye-popping costumes, soundtracked by Charli XCX’s “Everything is Romantic”. (The ubiquitous pop star-cum-harbinger of cool is providing original songs for the movie too.)Add to this a smart, sexy tagline (“Drive me mad”) and the film suddenly became the most talked-about of the year – and it’s not even out yet. When it opens on Valentine’s Day, Robbie says we will all have to, “Buckle up.”She is a producer too, as she was on Fennell’s last two films. As a result, the actor has been hands-on about every aspect of Wuthering Heights, including its promotional campaign. “The first image anyone sees of a movie is when you actually begin entertaining them,” she tells me, grinning. For that first photo, she says, “I remember someone being like, ‘Do you want a double [to have a finger and some turf stuffed in their mouth]?’ And I was like, ‘How dare you even ask me?’” She lets out a delighted cackle. [...]Robbie recalls that Elordi was already cast by the time the screenplay landed on her desk. At that point, Robbie had never read the book or watched any of the existing adaptations of Wuthering Heights. That script “absolutely wrecked me”, she remembers. “I didn’t know what was coming. By the end, I was just so full and so destroyed at the same time.”She was also captivated by Fennell’s Cathy. “I just felt like…” Robbie takes a breath, her fork aloft. “Not like she’s mine, but like I both understood her and didn’t, in a way that drew me to her. It’s this puzzle you have to work out.” She would have produced the film anyway, but decided to throw her hat in the ring to play Cathy too – though she didn’t “want Emerald to feel like she had to say yes”.Fennell was delighted. “Cathy is a star,” she explains. “She’s wilful, mean, a recreational sadist, a provocateur. She engages in cruelty in a way that is disturbing and fascinating. It was about finding someone who you would forgive in spite of yourself, someone who literally everyone in the world would understand why you love her. It’s difficult to find that supersized star power. Margot comes with big dick energy. That’s what Cathy needs.” The first time she met Robbie, nine years ago, Fennell says, “She smelt so delicious, which is an extremely creepy thing to remember. But she has that fairy dust. And she never, ever lets up. She operates at a higher percentage than anyone I’ve ever met.”Elordi concurs. “Margot is a force,” he writes to me over email. “And she makes it look easy. Sometimes I think she has Hermione’s Time-Turner – she can raise a baby, shoot a movie, produce four others and still meet for a beer at 5pm.”Robbie understands the kerfuffle around the film’s casting, to a degree. Of the chatter over this new Cathy being blonde not brunette, she says, “I get it” because “there’s nothing else to go off at this point until people see the movie”. (Fennell also clarifies that her Cathy is older than in the novel, in her mid-20s to early 30s.) On the subject of Elordi’s casting, though, Robbie is quiet and contemplative. “I saw him play Heathcliff,” she says finally. “And he is Heathcliff. I’d say, just wait. Trust me, you’ll be happy. It’s a character that has this lineage of other great actors who’ve played him, from Laurence Olivier to Richard Burton and Ralph Fiennes to Tom Hardy. To be a part of that is special. He’s incredible and I believe in him so much. I honestly think he’s our generation’s Daniel Day-Lewis.”In the early clips I’ve been permitted to see, Elordi also has a gruff Yorkshire drawl, while Cathy speaks in “classic RP” like the other central characters, in a bid to make Heathcliff feel “othered”. Robbie couldn’t help but be a little disappointed. “I was very excited to have a crack at the Yorkshire accent,” she says.The run-up to Wuthering Heights was, however, a little bumpy. “I was three months postpartum when we started shooting,” Robbie tells me. “So I was in a very different headspace. I didn’t do my usual routine. It was more haphazard. And I remember saying to Emerald, ‘What if I’m not prepared enough?’ She kept saying, ‘I don’t want you to prepare. I just need you to be in the moment.’ Which was a lovely way of relieving my anxiety. It was about being in my body as opposed to my head.”That helped with the sex scenes too, which you get a flavour of in the trailer, with sweat-drenched bodies spliced together with images of greasy fingers massaging dough, dripping in egg yolk and poking into the mouth of a fish. Does Wuthering Heights take it there? “It goes there,” Robbie confirms, her eyes glittering mischievously. “Everyone’s expecting this to be very, very raunchy. I think people will be surprised. Not to say there aren’t sexual elements and that it’s not provocative – it definitely is provocative – but it’s more romantic than provocative. This is a big epic romance. It’s just been so long since we’ve had one – maybe The Notebook, also The English Patient. You have to go back decades. It’s that feeling when your chest swells or it’s like someone’s punched you in the guts and the air leaves your body. That’s a signature of Emerald’s. Whether it’s titillating or repulsion, her superpower is eliciting a physical response.”It’s something Robbie and Fennell often discussed on set, like “‘What reads to us as hot or exciting or sexy?’ And it’s not just a sex position or someone taking their shirt off.” One such scene involved Elordi’s Heathcliff picking Cathy up (“With only one arm!”) and, in another, he shields her face from the rain. “It almost made me weak at the knees,” says Robbie, letting out a dramatic sigh. “It was the little things that we loved as two women in our 30s, and this movie is primarily for people in our demographic. These epic romances and period pieces aren’t often made by women.”Not everything went to plan. There was occasionally bright sunshine when they needed rain, which one day led to Emerald “writing a whole new scene in 30 minutes, if that, just typed on an iPhone” and set inside a carriage; plus the emotional weight of Cathy’s constant crying. (“Though I worked on a soap for three years,” Robbie says of her Neighbours era, “so it’s a muscle that I’ve built up.”)The trickiest thing to nail, though, was the tone. On one hand, Robbie says, it’s a “1950s soundstage melodrama” with a heightened aesthetic but also “emotionally grounded” – hence the pairing of Anthony Willis’s classical score, which I heard earlier, with modern music by Charli XCX. When Fennell asked if she’d record a song for the film, “I said, ‘How about a whole album?’” the singer recounts over email. “Her script struck something in me.” With her collaborator, Finn Keane, Charli says that she “started working with live strings and tried to find the most disgusting, violent, nontraditional way for them to play, and blend them into these songs that we were making very much specifically for and about the world of Wuthering Heights.” The results “couldn’t be further away from Brat”.The best reference point for the film as a whole, Robbie thinks, is Baz Luhrmann’s Romeo & Juliet. “It’s a literary classic, visually stunning and emotionally resonant. In one of our first conversations about this film, I asked Emerald what her dream outcome was. She said, ‘I want this to be this generation’s Titanic. I went to the cinema to watch Romeo & Juliet eight times and I was on the ground crying when I wasn’t allowed to go back for a ninth. I want it to be that.’” Their hope is that women “go see it with 10 of their female friends”. “And I think it’s going to be an amazing date movie,” Robbie adds. She has been encouraged by the response from early test screenings. “I was surprised by the fact that so few people had actually read the book,” she says of the film’s first audiences. “Quite a few had heard of it, but actually a huge portion hadn’t. So, for many people, this is their introduction to Wuthering Heights, which is exciting.”As with Barbie, a film much of the industry was sceptical about up until it was released and became an instant cultural touchstone, Robbie is determined to follow her instincts. “Everyone was like, ‘Well, that did well because of course it was going to.’ And I’m like…” She chuckles. “‘This was not the conversation at the time.’ I try to remind myself of that with Wuthering too. You have to just not listen to the noise and trust that the thing you’re putting out is what people will be happy to have.”In many ways, Wuthering Heights is exactly the kind of film that Robbie wants her production company, LuckyChap, to keep making more of – ones with a female focus or storyteller, which “feel like they have the potential to penetrate culture and a reason to exist”. (Radhika Seth)
The atmospheric moors above the village of Haworth formed the inspiration behind the writings of the Brontë sisters. More specifically this walk focuses on Wuthering Heights - dark, desolate, but magnificent.There are a number of car parks in Haworth. Choose one and head towards the church and the Brontë Parsonage. It is worth visiting the Parsonage before the walk to gain a feel for the tough upbringing they had. In turn this will bring a greater appreciation to the walk.The path heads up the south side of St Michael and All Angels Church, an impressive building where the father of the Brontë sisters was Reverend for 41 years (and rather sadly outlived all three daughters). (Jonathan Smith)
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by Clare PollardBloodaxe BooksISBN: 9781780377476September 2025Clare Pollard cocks a snook at Dr Johnson’s all-male Lives of the Poets in chronicling her own life and theirs in her Lives of the Female Poets. These portraits and self portraits offer glimpses into the poet’s own everyday life – from nit-combing and laundry to pollen counts and cocktails, watching school plays to shopping on Rye Lane – all whilst in conversation with female poets through the ages.Playing with forms from the version to the glosa, these are poems that remix, adapt and channel figures from Enheduanna, the first recorded poet, through to Wanda Coleman. Probing the idea of the ‘Poetess’ over time, there are also poems about writers’ lives – sonnets for Anne Locke, who wrote the first English sonnet sequence; a sestina for Elizabeth Bishop; a series of prose poems about Emily Brontë; and a look at the tragic life of L.E.L.Whether imagining a ‘three-martini afternoon’ at the Ritz with Sylvia Plath and Anne Sexton, or exploring the ways women writers have been erased from the canon in the book’s long, closing poem, Clare Pollard’s playful sixth collection celebrates and commemorates all those female poets who have come before.
There are three poems about Emily Brontë, as far as we know: On Emily Brontë, Age Six; The Sex of Emily Brontë, and Emily Brontë and the Critic. On the Rough Trade Books podcast (via Soho Radio), the author discusses that her collection includes biographical poems about female poets. She mentions there's "a poem about Emily Brontë masturbating," which she acknowledges "might be a flashpoint for some people what they think is too much."
She explains that throughout the poem she's constantly questioning "am I allowed to say this? Is this too much?" She adds that "the only person I've experienced of masturbating myself really so, you know, it's obviously a self a self-portrait on some level."
Claire then contextualizes it by saying she was "a very sexually frustrated teenager who like didn't have a proper [relationship] until I was about 20." She believes Emily Brontë had a similar experience, noting she'd watched a film that implied Brontë had a torrid affair and thought "oh really" - clearly skeptical, believing Brontë was more likely sexually frustrated like Claire herself had been.
So it came to be that the Brontë family arrived in Haworth, the village in which Patrick accepted the perpetual curacy of St Michael and All Angels’ Church where he would serve his parishioners for forty-one years until his death in 1861. They now had a larger house, a forever home the family could breathe in. They had space, where in time those young, curious and developing minds would write some of the finest nineteenth-century literature ever published. (Read more)
Brontë created a heroine who refuses to compromise herself for anyone, revolutionary for 1847. Jane’s insistence on equality in relationships and her moral strength made her the template for independent female characters.The gothic atmosphere, complete with mysterious mansions and dark secrets, shaped countless thrillers and mysteries. Modern stories about women finding their voice in difficult circumstances, from The Handmaid’s Tale to Gone Girl, carry Jane’s DNA.The first-person narration let readers inside a woman’s mind in ways that hadn’t been done before. (Adam Garcia)
In-person 2pm Free with entry to the Museum and for residents in BD20, BD21 and BD22 Brontë Space at the Old School RoomOnline 7:30pm £6 On Zoom: a link will be sent before the eventIn December 1847, Thomas Newby published Wuthering Heights by Ellis Bell in two volumes. The Examiner called it ‘a strange book’, while one reviewer for The Literary World confessed that despite its ‘disgusting coarseness’ he was ‘spellbound’.In December’s Thursday Talk, we reflect on the charged reception history of the novel, then and now. In the absence of a manuscript and scant personal writings, we explore the clues that remain of Emily Brontë’s own relationship to her only novel.This talk will be delivered by Dr Olivia Krauze, College Assistant Professor in English at Lucy Cavendish College, University of Cambridge, and Dr Claire O’Callaghan, Senior Lecturer in English at the University of Loughborough and Editor-in-Chief of Brontë Studies.
The book that... [...]…I’ve re-read the most:Jane Eyre by Charlotte Brontë. Jane Eyre is my favorite novel, and I used to be able to recite entire passages from it—which should tell you just how many times I’ve read it. Her voice has endured the test of time and my porous memory. (Riza Cruz)
«Soy fan absoluta de Jane Eyre, Cumbres Borrascosas, Otra vuelta de tuerca, Frankenstein.... Y también de Los pazos de Ulloa. Quería hacer algo gótico victoriano, pero con alma gallega», explica. (Begoña R. Sotelino) (Translation)
For Fall–Winter 2025, Max Mara introduces “The Untamed Heroine” — a woman of composure, intellect and purpose whose heart quietly yearns for the romance and drama of a windswept moor. Drawing on 19th‑century classics such as Jane Eyre by Charlotte Brontë and Wuthering Heights by Emily Brontë, the collection balances restraint with longing, discipline with desire.
The World of Interiors and Country Life published more information about how this edition resurfaced, from all places, in Hollywood:In the hushed corridors of rare book dealing, where whispers of provenance matter as much as price, certain volumes occupy the realm of legend.The first London edition of Wuthering Heights is such a book, surfacing perhaps once in a decade, commanding prices exceeding £200,000, and vanishing almost immediately into private collections or institutional vaults. For most collectors, it remains an unattainable dream, admired from afar but forever out of reach.This month, however, Bayliss Rare Books in London has unveiled something extraordinary: a first American edition of Emily Brontë’s sole novel, offered at £18,500.Published by Harper and Brothers in New York in 1848, mere months after the London edition and during Brontë’s lifetime, it represents the earliest obtainable version of this literary masterwork. That it has survived 177 years in original condition makes it remarkable. That it arrives just as filmmaker Emerald Fennell prepares her adaptation makes it prescient.
Nearly 200 years later, as Emerald Fennell prepares to showcase Wuthering Heights on the silver screen, one of the few surviving copies of that anonymous first American edition – ‘by the author of Jane Eyre’ – has resurfaced, as if it could sense the timely groundswell of interest in the story, with all of its historical context baked into the near-perfect-condition cloth cover. It is one of only two examples available in the original state, and this is by far the finer.
The intrepid discoverer is London-based book dealer Oliver Bayliss, who happened upon it largely by chance. He recently found himself in Los Angeles in the pursuit of a collector who apparently possessed a rare first edition of JRR Tolkien’s The Hobbit. ‘The photos he had sent me over email were truly awful – pixelated, blurry, the works. Still, I took a gamble,’ Oliver says, and despite having ‘the photography skills of a potato’, he flew out to meet the collector in Hollywood.
Unexpectedly, The Hobbit was worth Oliver’s own there-and-back journey for more reasons than one. It was during a discussion with the collector about other books of note that Oliver mentioned in passing that he was also on the hunt for a first edition of Wuthering Heights. ‘He said: “I have one! In the original cloth.”’ It had never been on the market, sitting quietly in California all these years. ‘I can truly say I got goosebumps,’ Oliver adds, ‘so I flew home with my Hobbit, and then a few days later, the Wuthering Heights arrived in London.’When he first opened it, Oliver was floored. ‘It’s so, so rare to find one like this,’ he explains. ‘The UK first edition is a unicorn at this point, but the first American edition is also a notorious rarity, especially in the original cloth.’ It was cheaply made for a mass audience, which contributes to its scarcity – it was never intended to last. ‘You’re seeing it exactly as the first readers did. It felt a bit like unearthing a ghost.’ (...)The British first edition of Wuthering Heights, published in London in December 1847, has become mythical among collectors. Copies are virtually unobtainable today and command more than £200,000 when they surface, once in a decade. The Harper & Brothers first American edition is the earliest obtainable version for collectors (at least, says Oliver, the only one you can lay your hands on ‘without remortgaging the house, selling the car, and perhaps even a kidney’). For Oliver, the story of this specific edition mirrors Emily’s own. ‘It was printed without her name, sold under another’s, and for years misread. Yet it is through editions like this that Wuthering Heights first began its journey from obscurity to immortality.’ (Elly Parsons)
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22.00 hA beautiful widow takes up residence in the near-derelict Wildfell Hall. Befriended by a young farmer, she will not tell him about her past, until malicious gossip spreads.22:55 hHelen decides to reveal more to Gilbert and gives him her diary. He learns about her doomed marriage to the rich Arthur Huntingdon and how she fled his debauched cruelty.23:50 hHuntingdon has abducted young Arthur, forcing Helen to return to him. In spite of his dissolute behaviour, she nurses him until his death.
Wuthering Heights is “right” in the sense of phenomenal writing, but also because it’s wrong in all the right ways.Brontë does not shy away from physical and mental abuse. However, the book treats these issues with the respect they rightfully deserve. Brontë paints a portrait of generational trauma, oppression, and passion-inflicted violence that stands out from many other books of her generation. Even today, the book’s approach to “dark romance” remains uniquely nuanced. For lovers of gothic literature or romanticism, Wuthering Heights also contains the best of both worlds.Tragedy is at the heart of Wuthering Heights, with the question of “what could have been” constantly at the back of the reader’s mind. We follow two troublesome kids, Cathy and Heathcliff, as they develop a sweet juvenile romance. But due to a combination of external coercion and inner conflicts, an invisible barrier begins to form between them.Ultimately, their love is intense and corrosive; it allows their humanity to shine through while simultaneously catalyzing each character’s self-destruction.Many popular dark romance tropes today trace back to Wuthering Heights, but the book subverts them in surprising ways as well.To start out, while Emily Brontë didn’t invent forbidden love, she certainly helped redefine what it could mean. While the foundational work of forbidden love, Romeo and Juliet, focuses on the mutual conflict between two aristocratic families, Wuthering Heights is built on class conflict and racial discrimination. But the book doesn’t use them as side pieces; it dives deep into how such issues shapes each character, and how that in turn perpetuates a cycle of abuse.Forced proximity, obsession, and enemies-to-lovers are also popular modern-day tropes you can find in this 19th century novel. And you can be sure that Brontë doesn’t shy away from giving heavier topics their due diligence.You’ll find yourself screaming at the characters for making all the wrong choices, but at the same time, you know perfectly why they would make that decision. That all makes it an excruciating read—but an excruciatingly good one.So at the end of the day, we’re left with one question: Why read dark romance at all? Why can’t we just be satisfied with romance, and why are so many of us drawn to the darker side that fiction provides? The same thing applies to consuming tragedy, horror, and similar genres. They’re not feel-good material, but something about them fascinates us regardless.I propose that it all has to do with catharsis—referring to the release of strong or repressed emotions. Originally, the term was popularized by Aristotle to explain how tragic stories heal the mind by allowing us to experience emotional purging without having to go through actual tragedies. In dark romance, a similar process applies. Most readers trudge through the psychological turmoil because they expect that at the end, the “romance” part of “dark romance” promises a strong emotional payoff.Moreover, dark romance also draws to mind issues that are usually not present in the mainstream. Such issues usually tie into domestic spheres; thus, writers and consumers are more likely to brush them aside. But the dynamics that underlie romance also reflect bigger problems laced within our society. Dark romance, particularly those written with literary sensibilities, often directly address these issues and seeks to bring these hidden depths to the surface.As with all cultural phenomena, a trend often originates from a convention-breaking product that shocks, intrigues, and captures. For a genre that’s constantly “trending” throughout different time periods, it’s interesting to see where it all started. (Nea Le)
Margot Robbie’s Contentious Wuthering Heights Wedding DressSpeaking of clothing items setting the internet ablaze, online film and fashion buffs certainly had lots to say when the first images of Margot Robbie in Emerald Fennell’s upcoming Wuthering Heights adaptation hit our newsfeeds. Is it the right time period? Is the cleavage too revealing? Should the character even be in a wedding gown, given that the story takes place before they even came into fashion? The film will debut on Valentine’s Day next year—expect more discourse then. (José Criales-Unzueta)
Born on the 4th, 13th, 22nd, and 31st — Charlotte BrontëCharlotte Brontë is known for her novel Jane Eyre, mirroring the disciplined, resilient nature of these birth dates. Aligned with the vibration of 4, these individuals are the architects of their own reality, known for pragmatic focus and concentrated efforts. Similarly, Brontë carried a deep commitment to integrity and strong personal ethics. (MaKayla McRae)
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Trinity Laban Musical Theatre presents:Music and Lyrics by Paul GordonBook and additional Lyrics by John CairdDecember 2 - 6Trinity Laban Conservatoire of Music and Dance, King Charles Court,Old Royal Naval College, LondonCharlotte Brontë’s classic gothic romance is brought to life onstage in a musical adaptation. We follow the independent, passionate governess Jane Eyre, through her harsh childhood after being left as an orphan to an uncaring aunt, through her employment as a governess at Thornfield Hall. There, she meets the mysterious and magnetic Edward Fairfax Rochester, master of the house and warden of her pupil. Though drawn to each other, they are haunted by the ghosts of Mr. Rochester’s past, which threaten any possibilities of a future of love or happiness for either. This Tony Award-nominated musical features a grand, sweeping score that transports the audience to a world of wild, ungovernable passion on the moors.
Would you name your dog after the brooding, vengeance-seeking Heathcliff from “Wuthering Heights”? [...]Top bookish dog names trending in 2025[...]7. Heathcliff (tie): From “Wuthering Heights,” up 81% (Clare Mulroy)
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by Emily BrontëAdapted by Thomas BirkmeierDirected by Anna BergmanSet design by Sabine Mäder. Costume design by Lane Schäfer. Choreography by Stefan Richter. Dance choreography by Nira Priore Nouak. Music/Composition by Heiko Schnurpel. Chorus master: Daniel Bengü. Video by Andreas Deinert. Dramaturgy by Carlotta Huys.November 28December 6,12, 20, 31January 9, 14, 30March 15April 10Staatstheater Darmstadt, Staatstheater Darmstadt, 64283 Darmstadt, GermanyThe bond between Catherine, the daughter of a landowner, and her adopted brother Heathcliff, a foundling from the slums of Liverpool, is characterized by profound understanding and longing. However, when Catherine decides to marry the wealthy Edgar Linton to escape the squalid conditions at their shared home, Wuthering Heights, Heathcliff is so deeply hurt that he leaves the area. The loss of her beloved foster brother and closest confidant plunges Catherine into a deep crisis. But even with Heathcliff's return, now a rich young man, Catherine cannot bring herself to turn her back on Edgar, and so begins a maelstrom of revenge and dependency that destroys two families across generations."Wuthering Heights," Emily Brontë's only novel, is now considered a classic of English literature. In this complex family saga centered on the anti-hero Heathcliff, violence and anger dominate. "Wuthering Heights" is essentially the anti-"Romeo and Juliet": The love between Cathy and Heathcliff is not a tragic, innocent, and ideal one that endures against all odds until death and transcends the boundaries of origin, but rather a love bordering on obsession and marked by rage.In her production, director Anna Bergmann explores these abysses of the human soul, which are made visible through Heathcliff, and searches for their origins – including in societal structures.
Im ersten Teil fügt sich Bergmann widerspruchslos in dieses laute Pathos. Wir sehen in einem Vorgriff Heathcliff an Catherines Grab selbige verfluchen, ihren Geist als Hologramm hereinschweben. Wir sehen grimmige Riesenköpfe mit Sensen eine freudlose viktorianische Welt markieren, aus der es kein Entkommen gibt, begleitet von der drohenden Elster. Nebel und Regen verdüstern den Raum, einzelne Figuren performen Popsongs, aber in Moll. Sie sind archaisch gekleidet, ihre Gesichter weiß geschminkt, ihre Endkonsonanten gleichermaßen feucht betont – nur bei Emily Klinge als flatterhafter Catherine kommt bisweilen rebellisches Charisma zum Vorschein.Die opernhaft humorlose Wucht ist unerträglich, aber auch effektvoll. Nach der 38-minütigen Pause leuchtet dann sofort ein, warum sie so lang war, dann ist nämlich alles anders. Bergmann hat ihre große Stärke ausgepackt: den ästhetischen Totalbruch, aufgehängt an dem Plotpoint, dass Jahre vergangen sind und Heathcliff wohlhabend und zivilisierter nach Wuthering Heights zurückkehrt. In Darmstadt erfährt die Figur außerdem eine orlandoeske Geschlechter- und Zeitenwandlung: Flora Udochi Egbonu hat die Brustplatte abgelegt, die Haare aufgemacht und ein kurzes giftgelbes Kleid angezogen. Heathcliff ist jetzt eine sexy Rächerin mit Peitsche und singt keck "The Kill" von den Dresden Dolls.Auch alle anderen haben mindestens ein Jahrhundert gut gemacht. Ein zweistöckiges Haus fährt aus dem Bühnenboden, es gibt farbige Latexkostüme und hochgestylte Frisuren, komödiantisch koordinierte Catfights und Kotzorgien, und die Dienstbot:innen der Anwesen Hintleys und Edgars telefonieren einander very British Weisheiten durch. Das zuvor vorbildlich statische Ensemble wechselt die Spielweise und führt den Text nun genüsslich als campy 80er-Jahre-B-Movie mit einer Prise Pollesch vor.Der Sinn dieser stilistischen Gegenüberstellung darf natürlich in Frage gestellt werden. Muss er aber nicht. Denn so macht diese "Sturmhöhe" richtig Spaß. Glück gehabt. (Martin Thomas Pesl) (Translation)
„Sturmhöhe“ ist die stärkste Schauspielproduktion des Jahres in Darmstadt. Anna Bergmann inszeniert erst schauerromantische Fantasmagorie, dann bizarres Sittenbild mit Livevideo, und lässt zwischendrin immer wieder eine Rockoper aufblitzen. Passend dazu unternimmt Bühnenbildnerin Sabine Mäder einen Leistungstest der neuen Technik im Kleinen Haus, lässt Menschen in den Bühnenhimmel fliegen und Gebäude in der Versenkung verschwinden. Dass die Ökonomie der Mittel nicht zu den Stärken dieser Inszenierung gehört, dass der düstere erste Teil des Abends deutlich konzentrierter gelingt als der grelle zweite Abschnitt – geschenkt. Hier wird so viel aufgefahren, wie man vom Theater nur verlangen kann und nicht oft geboten kriegt. (Stefan Benz) (Translation)
I get it. Really, I do. Literature imprints upon my heart as much as the next person. I am an author after all, and a romantic one at that. I am prone to attaching myself to lines from poetry or prose in ways that sometimes make me believe they are speaking directly to me. I have even been tempted to tattoo them onto my skin, a permanent etching as if that might mean more, that I might be able to absorb them entirely. And yet, I cannot bring myself to really believe that Emily Brontë, an exceptional woman who took huge, beautiful risks in her work, would really be turning over in her grave at the very idea of Jacob Elordi tightening breathless Barbie’s corset. (...)I do not think that any of us are able to accurately guess what Brontë’s reaction might be to any of the many adaptations of her work. However, I do wonder whether she might have been just a little excited by what contemporary female artists are now making of her work and what women are now allowed to conceive and create. Perhaps she might even be delighted that her story was still being consumed by new audiences, generation after generation falling for new Heathcliffs and new Cathys while the moors remain the same — wild, barren, hostile places within which dark and all-consuming love stories still take place.I cannot bring myself to feel too concerned that younger audiences may see this film and consider it the definitive Wuthering Heights (although I highly doubt that will be the case). (...)Whether you agree with her or not on her casting choices, this much is true: it is all art. When Brontë wrote Wuthering Heights, I would be surprised if she viewed it as a sacred text designed to be preserved forever. When an artist puts work out into the world they release it. It no longer belongs to them; not really. You cannot manage the way people hear your words, view your images or listen to your songs. You cannot control their emotions or correct them. You create, you perfect — and then you let it go to take on new meaning. If you’re lucky it resonates not just with one person, but with many over generations; perhaps even a century and a half later you will still inspire people to make something new. And maybe you wouldn’t like it, but it’s all art, and nothing is sacred.May we always be surprised, shocked, appalled and bewildered by art. I hope we’re having this conversation again in another 100 years and another 100 after that. Wuthering Heights is ours, Fennell’s and of course, Charli XCX’s to do with what we please and if some people don’t like it, the original is waiting untouched for them to return to, anytime they like. (Laura Kay)
Many other websites still repeat the same yadda-yadda about Wuthering Heights 2026: Vanidad, L'Officiel, Startefacts, TV Central, Hola, Tuttotek...
While working as a governess for some “unmanageable cubs” in 1839, Charlotte Brontë lived in Lothersdale at Stone Gappe.Her employer, the then owner of the three-storey five bay property south of Stansfield Brow which dates to 1725, Charlotte’s is said to have resembled her character Edward Rochester in Jane Eyre. (Stuart Minting)
So too undiscovered stories of charity when I was researching the Brontës for what for me must be the highlight of the year to welcome the Queen to open the Brontë birthplace in Thornton saved for the nation and now celebrated as the humble beginnings of greatness.Who would have thought when I penned the phrase Be More Brontë to encourage the same resolute determination in young people that three budding writers had shown that Camilla would be the first person to write those words within it’s walls?Giving from others bought it for future generations but also brought stories of giving during the Brontë sisters lifetimes to the fore.For example, did you know that the ruined farmhouse at Top Withins that inspired Emily Brontë’s Wuthering Heights was actually a part of charitable giving in its own right even before the three sisters and their brother roamed the moors?Money from it’s rent fed and clothed poor children. And now in modern day it forms the centre piece for Wuthering Heights day when charities benefit from the recreation of Kate Bush’s famous dance on the birthday she shares with Emily Brontë and is celebrated each year on July 30th.Add to that the fact that Patrick’s Brontë’s first major curacy at St Peter’s Church in Hartshead, just a few days before Christmas, handed out thick wooden fabric to the women to sew warm clothes for their children particularly during the luddite uprisings when cottage weavers were losing their homes and their livelihood and you will see why charity was a centre piece of giving as much then as now. (Christa Aykroyd)
The Brontës may feel mythic now, but artifacts like this demonstrate that behind every great work is a human life that once held fear, hope, pain, and passion. (Emily Chan)
Contrasting my previous picks is “Jane Eyre,” a classic by Charlotte Brontë that has sat on my shelf for three years and I have attempted to read twice (third time’s the charm?). Jane Eyre tells the story of its namesake in first-person, beginning with Jane’s abusive childhood and staying with her throughout her education and early adult life. I picked this one up again and found that I had a much better grasp on the language and concept of the book, and decided to try it once more. (Beatrice Cosgrove)
What is your favourite film?Jane Eyre and Inception.
Espido Freire está feliz con el tema que le ha tocado esta semana en Cuerpos especiales. La escritora se ha puesto romántica al analizar Tu cuerpo en braille de Nil Moliner, una canción a la que encuentra bastantes paralelismos con Cumbres Borrascosas de Emilie (sic) Brönte. El protagonista musical es el primo hermano de Heathcliff. "Los dos se quedaron traumatizados en la misma noche de tormenta", ha explicado. (Translation)
Keighley News reports the top 10 Keighley-area attractions according to Tripadvisor which incldude the Brontë Parsonage Museum, the Brontë waterfall, Top Withens and Haworth Parish Church.
