Brutally Effective

The Express Tribune (Pakistan) discusses Wuthering Heights:

In Wuthering Heights, Emily Brontë’s map of the contradictions of human nature is outlined through memorable scenes and a flair for dramatic confrontations. The root of the crisis, Brontë believes, stems from the failure to somehow connect one’s deepest emotions with social expectations. As a result, a long-simmering conflict begins to brew between the rational and irrational dimensions of the human psyche.
Even a cursory reading of Wuthering Heights reveals that Brontë knew exactly what and where the salient points of this conflict were. However, her characters were less perceptive and could not prevent the deadly collision of rationality and the unreasonable. Throughout her book, Brontë tries to negotiate these tensions. She does not collude with one of her characters against the other and skilfully mines all the dark, distressing possibilities of her story. (...)
Compelling, dangerous and brutally effective, Wuthering Heights presents the conflict between rationality and unreasonableness without emphasising on extremities. The focus remains on a balancing act rather than succumbing to an emotional impulse. (Taha Kehar)

Cedars reviews the Cedarville performances of Jane Eyre:

The physical presentation of Jane’s inner psyche is also especially striking. The two parties include the person who loved her, Helen (Natalia Kirychuk) and the people who did wrong by her, Mr. Brocklehurst (Stephen De Jong) and her Aunt Reed (Merra Milender). Mr. Brocklehurst and Aunt Reed can be seen antagonizing every pleasant experience in her life and reinforcing the negative self image Jane has of herself. Warning Jane to “be on guard,” for she is keen to maintaining deceitful people in her life.
The tone of “Jane Eyre” is much more somber than previous Cedarville productions and requires a certain amount of composure to appreciate its raw emotional appeal. This will be particularly apparent in scenes featuring Bertha (Raven Sinatra Simmons) and Grace Poole (Savannah Hart); two captivating characters who present themselves during Jane’s time at Thornfield Manor.
Anticipate attending the show and expect to be compelled to disappointment, sadness, and to experience some fits of laughter. Jane’s life is not a fairytale, but the gothic genre allows for some romance with a rugged, yet loveable love interest. (Nicole 'Ellie' Dukes)

The Yorkshire Post explores Yorkshire tiniest churches:

Dixe [Wills] also included St Leonard’s at Speeton, near Bridlington, which on the board outside proclaims to be “One of the oldest and smallest churches in Yorkshire – built by the Saxons, used by the Danes restored by the Normans”. “What they didn’t add was that Charlotte Brontë didn’t particularly like it. When she visited in the early 1850s, she wrote pretty dismissively, ‘it was certainly no more than thrice the length of our passage, floored with brick, the walls green with mould, the pews painted white, but the paint almost worn off with time and decay’. (Sarah Freeman)

The Times Literary Supplement interviews the writer Hilary Mantel:

 Quick questions:
Jane Austen or Charlotte Brontë? Brontë

The Quietus interviews the artist Dominique Gonzalez-Foerster:

Do you have a favourite opera? or favourite opera composer? (Robert Barry)
I can’t decide on just one, but one of my favourites (even though it is almost never staged) is Wuthering Heights by Bernard Herrmann. And some of my favourite composers are Puccini, Verdi, Philip Glass and Benjamin Britten – to have the young boy represented by the music of the gamelan in Death in Venice by Britten is an extraordinary musical idea. And some operas also gain extra layers when they are staged by Warlikowski or Marthaler. I dream of staging an opera myself in the future.

The Cap Times has an imagined interview with the late Molly Ivins:

Q: You’re not exactly going out on a limb.
M: I haven’t seen a limb since 2007. No trees in Afterlife. Just a lot of good company floating past — spirits like Whitman, Charlotte Brontë, Marx…. (David Giffey)

The Mary Sue talks about LGBTQIA characters and particularly of the web series Carmilla:

Things hit an impasse in episode 15, “No Heroics,” where Carmilla expressly tells Laura that she won’t go against her sister. Carmilla confronts Laura and says that she loves the “romantic ideal” of Carmilla the heroic vampire and not the flawed person that she really is. Laura keeps pressuring her to help out against Mattie, and this leads to their breakup and a pathetic montage featuring ice cream and Wuthering Heights. (Logan Dalton)

NBR mentions the Bilbao Guggenheim exhibition Ghosts by Sam Taylor Wood:

To compose the original eight-minute score, composer Anne Dudley drew inspiration from the photographs of Sam Taylor-Wood’s series Ghosts (2008) – based on Emily Brontë’s classic Victorian novel Wuthering Heights – in which the artist captured the environment of Haworth Moor where the Brontë sisters were raised in
It’s a score that evokes those bleak moors devoid of human presence, a piece played on eerily invisible instruments with natural yet dramatised gestures. (John Daly-Peoples)

El Diario (Spain) talks about Virginia Woolf's A Room of Her Own:

Escribir no era una actividad apropiada para las mujeres. De ahí los pseudónimos, la incomprensión, la avalancha de críticas y el ostracismo. Todos esos libros clásicos que hoy adornan con orgullo nuestras estanterías nacieron de las fuertes convicciones que estas mujeres tenían de su trabajo; de cómo lucharon contra una negativa constante, que se debilitaba frente a sus ansias de expresarse. Porque cualquier vocación está cargada de necesidad: es obligatorio liberarla para que no te consuma. Si autoras tan valiosas como las Brontë se hubieran dejado vencer por las presiones, haciendo sólo lo que se esperaba de ellas, nuestra realidad de hoy sería muy distinta. Pues aun perdiendo por el camino, sentaron las bases que servirían de impulso al resto. (Nidia García Hernández) (Translation)

Il Giornale (Italy) talks about singles and mentions Rebecca Traister's All the Single Ladies:

Scrive la Traister: «Odiavo quando le mie eroine si sposavano» perché, da Jo March a Jane Eyre, «queste irrequiete, brillanti ragazze venivano domate, sottomesse, costrette alla dimensione domestica». (Eleonora Barbieri) (Translation)

The Times discusses the novels of Elena Ferrante and mentions the Brontës and pseudonyms;  Ashvameg... posts about The Dark Side of Love in Wuthering Heights; YABooksCentral reviews Wuthering Heights. A Colouring Classic.