Delayed application

Variety has shared their predictions for next year's Academy Awards and, according to them, Wuthering Heights 2026 would only be nominated for Costume Design and wouldn't even win.

The never-ending story that is the wind farm at the heart of Brontë country continues as The Telegraph and Argus reports that,

Calderdale Wind Farm Limited (CWFL) said its Development Consent Order application for Calderdale Energy Park on Walshaw Moor, previously expected in November 2026, will now be submitted in July 2027.

Reacting to the news on Facebook, Calderdale Windfarm Action Group said: "CWFL have now admitted their peat landslide hazard and risk assessment was wrong."

The developer says the revised timetable followed a review of responses to its statutory consultation which identified “a number of matters requiring further consideration”.

Christian Egal, project director, said: “We’re grateful to everyone who took the time to take part in the statutory consultation. The feedback we received has been invaluable, and it’s clear that some areas need more work before we’re in a position to submit.

“Taking this extra time is the right thing to do. It means we can complete the further assessments needed, refine the design and submit the most robust application possible.” (Callum Cuddeford)

To be honest, we don't want it to be more robust; we want it gone. BBC News features how the campaigners against it are reading the delay:

A delay to a planned wind farm in Bronte Country could spell the end of the project, campaigners have said. [...]

Nick Mackinnon, from Stronger Together to Stop Calderdale Wind Farm, said while the project had been forced to pause because of safety concerns around the land, the campaign was not yet over.

The developers would have needed to transport heavy machinery and turbines along a half-mile (1km) long path near Crow Hill, which has a history of bog bursts – one of which nearly killed famous 19th Century author Emily Brontë when she was six years old.

Mackinnon explained: "They knew there had been instability on Crow Hill but they had concluded it had all finished in 1824.

"That bog burst was absolutely colossal. The effects were felt in Leeds – they had to turn off the reservoir pumps at Leeds – and you could still see the peat stain in the Humber."

But Mackinnon said he believed those connected to the project were unaware there had also been a "huge bog burst" in 1989.

"It is the only place in mainland UK where bog bursts happen and they're vast," he said.

"They are between 100,000 and one million tonnes and it all comes down at the speed of pressurised water, so they're explosions," he explained.

"There's been at least eight and they're spread over two centuries." (Grace Wood and Callum Cuddeford)

Funny how something lived and documented by the Brontë family could serve to put a stop to the project.

Several sites are reviewing the film adaptation of Victorian Psycho. From But Why Tho?

Ruth Wilson takes to the material with a zeal that will particularly delight those who know her from “proper” literary adaptations like Jane Eyre and Anna Karenina. (Brogan Luke Bouwhuis)

Original Cin cautions:

Victorian Psycho, despite its in-period aspect, isn’t Jane Eyre. (John Kirk)

ScreenRant reviews another Gothic thriller: A Jealous Tongue.

What unfolds in A Jealous Tongue isn’t exactly the stuff of horror novels. Instead, Tyndall departs from contemporary, horror-centric trends and harkens back to classics like Jane Eyre, The Woman in White, and, yes, Rebecca, to build a story that rests on suspense rather than jump scares. They wield that suspense with razor-sharp precision. (Paulina Rodriguez)

The Michigan Daily shares its least favorite book adaptations and one of them is

“Wuthering Heights”

Emily Brontë’s “Wuthering Heights” is commonly referred to as the “greatest love story of all time.” But, while it is fundamentally a love story, it also functions as a tale of obsession, revenge and generational trauma. Catherine Earnshaw and Heathcliff, as well as other characters within the novel, are extremely complex and unlikable, reminding us that love can be twisted and depraved. So when Emerald Fennell announced her 2026 adaptation of Brontë’s novel, fans of “Wuthering Heights” were skeptical, to say the least. How could one possibly portray the intricate details and complexities depicted on the pages?

One of the biggest criticisms of the film was Fennell’s casting of Jacob Elordi, a white man, to play Heathcliff. Considering that a large part of the novel is centered around the racial “othering” of Heathcliff, which plays a significant role in his storyline, viewers expected to see similar themes explored in the adaptation. Not only was Heathcliff’s race erased, but his complicated relationship with Cathy was simplified to an overly emotional relationship, completely disregarding the abuse and trauma tainting their story. The nail in the coffin was the film being promoted as a “friends-to-lovers” trope prior to its release.

Even so, “Wuthering Heights” is exactly what Fennell intended it to be; she never claimed to make a faithful retelling of Brontë’s novel. If anything, she expressed her desire to create a work that reflected her personal experience with “Wuthering Heights”: reading it for the first time when she was 14. So if this is a feeling you’d also like to relive, you may just find what you’re looking for in this film. For anyone interested, however, in watching an honest and thoughtful adaptation — look elsewhere. (Meagan Ismail and Lorenzo Norbis)

El Universal (Mexico) recommends watching it.

The Telegraph and Argus features the artists featured in Bingley Gallery's festive exhibition.

Among the newcomers is Teresa Flavin, whose work caught David’s eye at the Brontë Birthplace in Haworth. A former lecturer at Leeds Arts University, Teresa is an artist, illustrator and author. Her mixed-media paintings draw on history, folklore, fashion and landscapes, combining rich colour and texture.

Her lyrical depictions of imagined Victorian women bring together representational imagery and expressive abstraction. Inspired by Victorian fashion plates discovered in Leeds City Libraries’ Special Collections, Teresa’s paintings give their subjects a personality of their own. “My current paintings have been inspired by real-life Victorian women such as the Brontë sisters and their world,” she explains. (David Starley)