Feline Sexual Fetish

Crime Reads lists classic retellings for crime fiction fans:

Mrs. Rochester’s Ghost by Lindsay Marcott

In this contemporary version of Jane Eyre, Marcott leans into the gothic potential of its rocky, California beach setting. There’s enough fog to make even a sensible young protagonist second-guess herself. The book’s premise is simple enough. After losing her job, Jane agrees to work for Evan Rochester, tutoring his daughter while living rent-free at their grand, spooky estate. The problem with that arrangement? Rochester’s been accused of killing his late wife. Jane wants to find out the truth, even if her investigation leads her into precarious, potentially even supernatural, circumstances. (Erica Wrightt)

Fainting in fiction discussed in Literary Hub: 

The Victorians, of course, are famous for their hysterical heroines, but more often than not, they wrap up their fainting episodes quite neatly. Take Jane Eyre, rightfully horrified after being sent to the “Red Room” by her dreadful aunt who, unmoved by her hysterical screams, orders her to stay there, alone. (Sophie Brickman)

Caitlin Moran's covering Kate Bush's Wuthering Heights? The East Lothian Courier says it happened:

In conversation with journalist and broadcaster Jennifer Crichton, Moran spent the next 60 minutes speaking at 90mph with barely a pause or interruption.

Articulate and enthusiastic, she was a ball of energy who had the audience alternately laughing and crying – and cheering her rendition of Kate Bush’s Wuthering Heights. (Isla Aitken)

The best movies of Kaya Scodelario, according to ScreenRant:

Wuthering Heights (2011)

Role: Catherine Earnshaw

Kaya Scodelario as Cathy Earnshaw stood in a foggy field in Wuthering Heights.

Scodelario led one of the best interpretations of the romantic period drama movie Wuthering Heights as Catherine Earnshaw. While Bronte’s iconic character Cathy was always bold and very different compared to other women of that time period, Scodelario brought a new angle to her. This adaptation of Wuthering Heights diverted from the source material through James Howson as Heathcliff, who was born into slavery, which made the already complicated storyline between the two lovers even more complex. However, this provided a great challenge that Scodelario nailed. Between the brooding looks and emotional body language, Scodelario truly became Cathy.

Scodelario’s raw and intense take on the legendary Gothic literary figure was brilliant when she was both alone on-screen and with others. Her ability to convey Cathy’s turbulent feelings throughout the many stages of her difficult relationship with Heathcliff was significantly praised, allowing the actress to show off her acting range well. The chemistry Scodelario shared with Howson was also notable, which was important for the film’s storyline, and it highlighted just how tragic Cathy and Heathcliff’s love story was. (Rebecca Sargeant)

The Guardian reviews another comedy show at the Edinburgh Fringe, Katie Norris's Farm Fatale:

“The Taylor Swift of comedy,” Norris calls herself here. But by the latter stages of this hysterical foray into crazy cat-lady comedy, which find our flame-haired host caterwauling her feline sexual fetish like Cathy at the window of Wuthering Heights, Kate Bush makes for a more apt comparison. Directed by Elf Lyons, it’s wonderfully batty and unapologetic, and the occasional songs (music by Chris Thomson and Huge Davies) are all keepers. A solo debut to cherish. (Brian Logan)

Washington City Paper reviews the Washington D.C. performances of The Moors:

The commedia dell’arte adaptation of this Brontë-inspired play proves the art form not only recasts old works in new light, but can also put a unique spin on contemporary tales. (...)

While Faction of Fools has a history of both adapting classic works to the commedia dell’arte idiom, as well as devising and commissioning original works, Silverman’s The Moors is the first time they have presented an already established work by a contemporary playwright. Silverman’s inspiration for a gothic romance parody stems from the letters of Charlotte Brontë. (Ian Thal)