It makes Top Withens look like Regent's Park

The Inquirer (Philippines) tells a family story:

Nestled amid fields of sugarcane, wild flowers and a quaint herbal garden, Nelly’s library was a sleek, high-ceiling structure that housed 5,000 books of scholarship, each one loved and read, with pencil markings along crisp, white margins. The titles ranged from our grandfather’s medical textbooks to the works of T.S. Eliot, Rainer Maria Rilke, Robinson Jeffers, and the Temple edition of the masterpieces of the Sisters Brontë, only two sets of which are known to exist. (Rita Ledesma)

We are no experts in first editions or rare books, but we think that the Temple Scott edition of the novels of the Brontë sisters (also known as the 1898-1901 Thornton edition in twelve volumes) are not so rare, even first editions. But we may be mistaken.

Neil Hanson remembers in the Yorkshire Post how they shoot the classical Everest commercial at Tan Hill Inn:

Even though they were trying to be non-committal, I could tell they were excited. Characterful pub interiors might be ten a penny in Britain, but there was no pub anywhere in the country that had surroundings quite like the wild and windswept moorland around Tan Hill. As an Emily Brontë fan had remarked to me one day: “It makes Top Withens look like Regent’s Park.”

The Daily Beast is excited (is it really the right word?) about Justin Trudeau's  Prime Minister election:

The truth is our culture is in a perpetual fluster of sexual objectification: people with their clothes off are all over primetime, and movie screens, and magazine covers.
Rather than denounce it, we should be honest about its prevalence (if we didn’t want it, the objectification wouldn’t be played out so relentlessly), and how we can most sanely sift through its offcuts. If the images depress or upset you, don’t download them, avert your adult eyes, read Jane Eyre. (Tim Teeman) 

Not the coarse one, of course. The Reader's Digest one edition that the author of the article probably remembers.

The Economist reviews the Jonathan Bate's Ted Hughes biography:

The suggestion that multiple infidelities were a form of fidelity to Plath may sound like special pleading but there is no doubt that she was the great love of Hughes’s life—the Cathy of “Wuthering Heights” to the Heathcliff of his native moors—and that her ghost was with him to the end.

Scroll.in thinks that every writer should have a life before writing. Even Emily Brontë:

And so did Emily Brontë, of whom it is said in wonder that she wrote the most tumultuous of love stories when she loved no man at all. But she did love. She is known to have loved animals, and the moors she lived in and her close-knit family, intensely. Because a writer must love. It doesn’t matter what. (Shreya Sen Handley)

La Provincia (Spain) talks about Estefanía Pérez Naranjo's El hombre que se enamoró del sol y otros relatos:

Estefanía confía en que esta recopilación sea la primera de otras muchas experiencias en el mundo literario. Un mundo en el que se deja seducir cada noche por las páginas de autores como Edgard Allan Poe, E.M. Forster, Emily Brontë o Laura Gallego, que "supo monopolizar mi infancia como ningún otro autor habría hecho, mientras que nombres como Wilde, Kafka o Süskind llegaron más tarde.

Newsis (South Korea) echoes the Claire Harman's new Charlotte Brontë biography, regrettably reproducing some of the Daily Mail recent nonsense.

Svenska Dagbladet (Sweden) recommends trips in London:

Pergola & Hill garden: En väl gömd praktfull byggnad med trädgård och sagolika omgivningar. Att gå runt här bland slingrade växter är att som att kliva in i en Jane Eyre-roman. (Translation)

Zimbio links the cast of Crimson Peak with other films:

Del Toro looked primarily to the world of gothic romantic literature when creating Crimson Peak, and Charlotte Brontë's Jane Eyre is very much one of the movie's cultural ancestors. The stories are actually remarkably similar, and in both movies Mia Wasikowska plays an independent young lady who shacks up with a well-to-do but disturbed man whose house is haunted. Directed by True Detective's Cary Fukunaga and co-starring Michael Fassbender as archetypal byronic hero Mr. Rochester, this 2011 take on the classic tale is painted in muted yet vibrant tones. Jane Eyre focuses more on the beauty in nature than in the artifice of human hands, but its aesthetic sensibility will agree with anyone who couldn't stop staring at the shot compositions in Crimson Peak. (JJ Duncan)

Vesna Armstrong Photography posts amazing pictures of Ponden Hall.

And, finally, our Crimson Peak proper sightings:

Según [Guillermo Del Toro] lo ha afirmado, la película nace de su admiración por las novelas de las hermanas Brontë, entre otras, así como por su gusto por el melodrama gótico, género que encontró su parangón en Rebecca, de Hitchcock (1940). (Leonardo García Tsao in La Jornada) (Translation)

 Un ritorno nelle sale cinematografiche e al suo genere madre dopo il gigantesco blockbuster "Pacific Rim", Del Toro riabbracciacrimsonpeakle storie di fantasmi per immergersi quanto più è possibile nella tradizione anglo-americana, ispirandosi con avidità alle pagine di Emily e Charlotte Brontë, alle inquietudini di Joseph Le Fanu, agli spettri di Montague Rhodes James e all’umido passato del New England di Edgar Allan Poe e Howard Phillips Lovecraft. (Fausto Vernazzani in Horror Movie Database) (Translation)

Director Guillermo del Toro ("Hellboy,"Hobbit Desolation of Smaug") delivers a perfectly ghostly (and ghastly) Victorian styled romantic horror relic in the vein of "Jane Eyre," "Rebecca," and "Notorious" for golden purists and "Dark Shadows" or ""Pan's Labyrinth," for modern enthusiasts. (Tony Rutherford in Huntington News)

His Crimson Peak, which rolls out around the world this month, borrows strongly from del Toro’s love of Edgar Allen Poe stories, especially The Fall of the House of Usher, and the 1939 film version of Wuthering Heights, with their complex reflections on human psychology. (Donald Hamm in HueWire)

"Crimson Peak" is nothing if not dutiful in deploying these tropes. But Del Toro, a gifted fantasy storyteller with an unerringly rich cinematic eye, has embroidered every frame of his love letter to this genre. And he has cherry-picked a bevy of influences, some literary (Poe, Collins, fairy tales, both Brontë sisters), some filmic (half the back catalog of the UK's Hammer horror studio) and yet has filtered it through his distinct sensibilities without making it a bloodless pastiche. (Michael Henley in Delaware County News Network)