John knew it

The Yorkshire Post is looking for Yorkshire's Greatest Creative People. And Charlotte and Emily are two of the contenders:

More than 160 years after they put down their pens, Charlotte Brontë’s “Jane Eyre” and Emily’s “Wuthering Heights” are among the major film releases of the Autumn showing their enduring appeal for millions.
It makes it impossible to ignore the sisters’ claims for greatness but, before we settle for a two-way battle between them, let’s not overlook our other contenders. (...)
Charlotte Brontë
It's not just a gripping storyline that has won Charlotte’s “Jane Eyre” so many millions of admirers.
There’s also the fact that Jane was a heroine ahead of her time – a self-sufficient young woman not that traditional damsel in distress.
The times meant that the author was named as Currer Bell - for a woman to write was not seen as respectable.
Charlotte had also produced “The Professor” in 1847, but it was rejected and only appeared after her death.
“Shirley” came out in 1849 while “Villette” appeared in 1853.
Born in 1816 at Thornton, near Bradford, she outlived her sisters, but died of pneumonia in 1853.
The three women’s tragic lives make a story almost as gripping as anything they came up with in their books and have lent them an extra appeal to fans from around the world.
Emily Brontë
Haworth is the only place I’ve seen footpath signs in Japanese, directing walkers to the Brontë Waterfall and Top Withens.
It’s down to “Wuthering Heights”, the only book written by Brontë sister Emily and loved by millions around the world.
Merle Oberon and Laurence Olivier in 1939 and Juliette Binoche and Ralph Fiennes in 1992 are the stars who have already played Cathy and Heathcliff and who can forget the Kate Bush song of the title.
Emily, who also wrote some poetry, published under the name Ellis Bell.
She, too, was born at Thornton. Only a year after the publication of her great book in 1847 (like Jane Eyre) she complained of breathing difficulties and died aged only 30.
She is believed to have been working on a second book, but if so it has never come to light. (Richard Catlow)

Global Comment reviews Andrea Arnold's Wuthering Heights, seen at the recent London Film Festival:

Arnold shoots the Yorkshire Moors like an inhospitable alien world. The wind is remorseless, the breath of giants blasting the boggy earth to pieces. Rocks jut forth like Pagan stones, a hotline to the ancient gods that stalked the land before Christianity. Rain threatens to find a second Noah. The young Heathcliff is dumbstruck, awestruck by his new surroundings. Catherine is his only connection to this hostile environment; an almost wordless relationship perfectly captured by Arnold’s undoubted visual genius. Every creak of a door, every stone in a wall, every bead of sweat from the horses tells Heathcliff and Catherine’s story.
Solomon Grave and Shannon Beer as the young Catherine are faultless for the first hour or so and so is Arnold’s film. What a shame then that this perfection is stunted when the older actors take over the reins. James Howson and Kaya Scodelario seem to be in a different adaptation all together. Any chemistry has been washed away on the Moors, any sympathy for their doomed affair tucked away in the drawing rooms of Thrushcross Grange. We simply don’t care about them any longer and their brooding pain plays like a couple of spoilt brats throwing a tantrum.
Both older actors don’t seem to have picked up on the idiosyncrasies of their younger counterparts. Small links to the past would help the audience connect with their characters despite the radical evolution in class both experience in the narrative. A bolder casting choice would have been to have the younger actors portray Heathcliff and Catherine throughout the entirety of the film. As it stands Andrea Arnold’s Wuthering Heights is very nearly a great film, its starkly beautiful setting highlights sexual repression and lust in a way reminiscent of the Japanese film, Onibaba. Still a flawed Andrea Arnold movie is always worth considering such is her talent. (Mark Farnsworth)

Nevertheless, the Morning Star is even less enthusiastic:

But Andrea Arnold's rather laboured reimagining of Wuthering Heights failed to fully impress.(Maria Duarte)

The Lake Tahoe News covers a local Halloween party with a Brontë reference:

The 2nd annual Scary Slam emceed by Reno slam poet Benjamin Arnold at Bona Fide Books in Meyers on Oct 29 was an opportunity for local writers and literary aficionados to play dress up as creepy literary greats as they battled each other for a cash prize for scariest poem and costume.
Jan Smith came dressed as the deceased, mentally ill, mid-century Sexton. Suzanne Roberts was Charlotte Brontë’s “madwoman in the attic” of Jane Eyre. (Jenniffer Eddy)

More Halloween. The Irish Times looks for ghoulish stories:

Emily Brontë’s Wuthering Heights (1848) could be seen as a ghost story in which many of the themes preoccupying the Victorians preoccupy the fiction they read. For all the terror and the ambivalent satisfaction in being frightened, the Victorian ghost story ultimately elevated fear and dread into regret and lamentation.  (Eileen Battersby)

Mark Smith in The Sunday Herald includes the Brontës' books among the books to show off:

You’re impressed, aren’t you? Dickens. Brontë. Hardy. And yes, I know there aren’t many creases on the spines but I’ve read all of them. Well, most of them. OK, some of them. Or at least, a few of them.
But hang on a minute. Your eyes are wandering to the bottom shelf. The one with the Jeffrey Archers and the Dan Browns. You’ve seen through me, haven’t you? You’ve spotted my bookshelf trickery – my shame.

The New York Times goes to Wisconsin following the tracks of Frank Lloyd Wright:

T. C. Boyle’s eloquent “The Women” (2009) follows Wright through three complicated marriages and makes Wisconsin feel akin to the storm-lashed moors of Wuthering Heights. (Deborah Solomon)

Matt J. Horn interviews Sally Reeve who played Martha, Thornfield's cook, in Jane Eyre 2011. She unveils some of the parts that never made it into the final cut:

Martha is the cook at Thornfield and is married to John, (played by the wonderful Ewart James Walters), who is Rochester’s right hand man – the only member of staff who came with Rochester from Jamaica. They have a daughter together who also works in the Thornfield kitchens. I had a great time with all the period props that were in the location – I spent a whole afternoon plucking pigeons and am now a dab hand at it! There was a huge sub-plot that Cary (Fukunaga) worked out with all the actors playing the staff – about whether we “knew” the big secret of Thornfield; and although none of it made the final cut of the film, we all worked really hard on it. My character particularly had a shock when she discovered her husband was aware of it, and had kept it from her. As is often the way with a film shoot, so much of this footage wasn’t included in the final edit – I’m waiting for the director’s cut to see if he puts it back in! (...)
My first day’s work involved rehearsing with Mia and Ewart, helping Mia with her Yorkshire accent (which is brilliant in the film) and doing improvisations with Romy to help develop our characters.

Snadzmatazz regrettably hated Villette; The Hairpin posts about the Brontë tiny books (via Eyresses); Voice of the Valleys celebrates Halloween in a Brontë way... Hawortheen and Abigail's Ateliers posts a nice collection of winter Brontë-related pictures.