A sea of red gathered on the moors

WCIA (Champagne, IL) announces that:

The Stars of Tomorrow program of the Twin City Theatre Company’s is debuting its next production this weekend.

Director Emily Ritter and Producer Chm. on Saturdays and Sunandra Galloway came on The Morning Show to talk about their organization and to preview their upcoming production: Emily Brontë: Teenage Necromancer. The show will run on Friday, Saturday and Sunday for the next two weekends at Parkland College’s Second Stage Theatre.

Performances will be at 7 p.m. on Fridays and at 2 p.days.

The Telegraph & Argus publishes the story about the Most Wuthering Heights Day Ever in Haworth: 

A sea of red gathered on the moors for a day of music, movement and literary celebration.

A total of 500 people took part in 'Mass Wuthering' in Haworth on July 26, 2026, an annual event inspired by Kate Bush’s iconic Wuthering Heights music video.

The gathering saw fans don red dresses and recreate the famous dance against the backdrop of the Yorkshire landscape that inspired Emily Brontë’s novel and Bush’s 1978 hit. (...)

Ms [Clare] O’Callaghan said: "We had fans of Kate Bush, fans of the Brontës, and people from all over the world who wanted to share the joy of how literature and the arts can inspire and cultivate community.

"It really was a day of community and cohesion, and we’ve been overwhelmed by the brilliant messages we’ve received from people - and those we’ve seen posting on social media - saying it was one of the most memorable experiences of their lives.

"We all got drenched on Sunday thanks to the ‘Wuthering’ weather, but it didn’t matter at all - it made it even better and the atmosphere was brilliant." (Amelia Short)

Other celebrations around: Los Alamos Daily Post,  Southend Echo, Minuto Uno...

Still locally, The Yorkshire Post tells the story of 'How Wuthering Heights took Yorkshire to Times Square and beyond in Britain's international tourism push'.

While the latest adaptation of Wuthering Heights may have divided critics and audiences, the film starring Margot Robbie and Jacob Elordi helped put Yorkshire in the global spotlight.

This was symbolised by a huge billboard in New York’s famous Times Square showing Robbie sitting on the Moors alongside a caption reading ‘It’s Not Wuthering Heights Without England’.

The billboard was a small part of Visit Britain’s ‘Starring GREAT Britain’ campaign to boost international tourism to the UK which sought to highlight popular TV shows and films as a way of drawing visitors here.

Visit Britain worked with international film and TV studios to target ‘high value’ international audiences in countries like the US, France, Germany and Australia and the Gulf.

Patricia Yates, chief executive of VisitBritain, explained in the organisation’s most recent results that Wuthering Heights had played a central role in this year’s campaign.

“Last year VisitBritain launched its ‘Starring GREAT Britain’ campaign,” she says. “This was the culmination of a monumental effort by VisitBritain teams across the globe who negotiated partnerships with nine studios to produce an incredible campaign platform on which to build.

“In its first six months alone, the campaign generated an additional £217m in visitor spend.

“Each extra pound represents a boost for the UK economy, a small business supported and a job sustained. The team has not lost momentum.

“The release of Bridgerton Series 4 and Emerald Fennell’s adaptation of Wuthering Heights told a compelling story of regional Britain. VisitBritain secured new Wuthering Heights intellectual property for the campaign showing Yorkshire’s iconic moors and hosted media, buyers and influencers from around the world in Yorkshire. [...]

While productions like All Creatures Great and Small and Wuthering Heights may be helping to give Yorkshire a wider international profile, there is still much to be done to keep the region’s hard-working tourism businesses deservedly centre-stage. (Chris Burn)

Folger Shakespeare Library publishes an excerpt of Greg Doran's Walking Shadow: Love, Loss and Shakespeare. In the excerpt, Greg Doran describes his visit to Skipton to see the First Folio that is kept at the Craven Museum:

I ask Jenny [Hill, lead curator] to tell me how the cotton mill owner got hold of a folio in the first place. Jenny grins at her colleague Charlotte [Craig]. One theory is that it came from nearby Ponden Hall. Ponden had one of the largest private libraries not just in the West Riding, but in the whole of Europe. Charlotte has a theory about some of Ponden Hall’s close neighbours who might have used their library.

“Well, Ponden Hall is just two or three miles across the moors from Haworth.”

“Oh, no!” I gasp “From Haworth Parsonage, where the Brontë sisters lived?”

“That’s right,’ says Charlotte. “I used to work there.”

“Are you saying that the Brontë sisters might have read this copy of the First Folio?”

“We know they used to borrow books from Ponden Hall. But I can’t prove they read this folio.”

“Just say it!” I explode. “Let somebody else disprove it. Oh, that is fantastic. What about that!”

James smiles wryly. He thinks I’m mad. Jenny and Charlotte very kindly took the folio out of its case and carried it upstairs for me to examine more closely. While they were doing so, I did a bit of research. I remembered a reference to a letter Charlotte Brontë had written to a school friend about Shakespeare. By the time Jenny and Charlotte had laid out the folio upstairs, I had found the letter online.

Jenny points out that the folio is missing quite a few pages, and doesn’t have any of the Comedies. So I tell them about Charlotte’s letter dated 4 July 1834, to Ellen Nussey. “Ellen was her best friend at school,” Charlotte interjects.

“If you like poetry let it be first rate, Milton, Shakespeare, Thomson, Goldsmith, Pope (if you will though I don’t admire him), Scott, Byron, Campbell, Wordsworth and Southey. Now Ellen don’t be startled at the names of Shakespeare, and Byron. Both these were great men and their works are like themselves. You will know how to choose the good and avoid the evil, the finest passages are always the purest, the bad are invariably revolting you will never wish to read them over twice. Omit the comedies of Shakespeare.”

Omit the comedies of Shakespeare. And the Skipton copy has no comedies.

“Perhaps Charlotte ripped them out,” Jenny laughs.

“This just gets better and better,” I say. “Charlotte, you’ve got to get this story out there.”

Once we have all calmed down a little, I tell Jenny that despite its now even more fascinating history, I think it might be the grubbiest copy of the First Folio I have ever seen. “Could you not say ‘grubbiest,’” Jenny grins. “Could you perhaps say ‘well-loved’?”

The well-thumbed Skipton copy has become one of my very favourite copies of the First Folio, whether or not anyone can prove that the Brontë sisters ever read it.

Ocula explores the resurgence of film movies in theatres, an unexpected (by the popes of the AI-driven technofeudalism) trend led by the Gen Z audiences:

Earlier this year, Emerald Fennell’s much-maligned, Mills & Boon-coded bonkbuster Wuthering Heights (2026) proved a great litmus test for how both film critics and film-industry tech bros have been failing to read the room. Fennell turned down Netflix’s $150 million distribution offer and its associated Faustian pact which demanded that the film go straight to streaming. Instead, she went for Warner Bros for $70-$80 million, with whom she got her theatrical release. On the day I watched Wuthering Heights in the cinema this February, Variety reported that it had already grossed $151.7 million worldwide against an $80 million production budget. This certainly wasn’t because it had been lauded in the press: the film was widely ripped to shreds by critics. Yet I can assure you that the much younger audience alongside which I saw it didn’t seem to care. It turns out that audiences are not brute forces capable only of liking or disliking, but sensitive instruments that might derive their enjoyment from camp, irony, strangeness, or the purely preposterous. (Sophia Satchell-Baeza)

Vogue reviews Cat Cohen's last show, Broad Strokes: 

When Cohen first walks out onstage, she is wide-eyed and holding a candlestick. Before long, she launches into her first song, “By the Sea,” a catchy tune that also helps to explain the Victorian aesthetic of both her costume and the set. (While working with scenic designer Derek McLane, Cohen was variously inspired by Wuthering Heights and images of Gothic palaces and sanatoriums on Pinterest.) “I always wanted to be the main character and the author and the lighthouse,” she tells the audience. (Alex Jhamb Burns)

Los Angeles Times recommends '17 page-turning beach reads for the ultimate summer escape' including

‘The Chateau on Sunset’ by Natasha Lester

“If you must get into trouble, do it at the Marmont,” reads the opening of this gothic novel set at the Chateau Marmont in 1950s Hollywood. It’s hard to imagine getting into good trouble these days at the Chateau — a relic of a bygone era. Thankfully our protagonist, Aria Jones, does it for us. A midcentury reimagining of “Jane Eyre,” the novel captures the feverish glamour and underlying chaos of the studio era, with each character proving more cunning and bewildering than the last. The result is a gothic tale with a distinctly Old Hollywood twist, paying homage to the enduring mystique of the Chateau Marmont. The dialogue is so taut and snappy, you’ll find yourself holding your breath. Madness, cruelty and difficult women are welcome bedfellows at “The Chateau on Sunset.” (Maddie Connors)

The Times of India opens an article about flirting with this quote:

 “Flirting is a woman’s trade, one must keep in practice.” (Charlotte Brontë, Jane Eyre)

Which is, of course, not by Charlotte Brontë. It's a quote from the screenplay of Becoming Jane... which was a film about Jane Austen. Double Blunder!

LaSexta (Spain) posts about Wuthering Heights.