Hosted by producer Adam, the afternoon began with a heartfelt introduction that immediately set the tone. Rather than simply discussing the logistics of bringing the production to London, he shared the personal journey that led him to champion the musical's UK premiere.Having first discovered Jane Eyre as a young theatre fan in Toronto, Adam recalled becoming captivated by the original cast recording before eventually seeing the Broadway production. Years later, after rediscovering the musical, he tracked down co-creators John Caird and Paul Gordon, leading to the production now preparing to open in London. It was a reminder that this is very much a passion project as well as a theatrical production.That passion was echoed throughout the afternoon.Co-director Megan McGinnis spoke movingly about Jane Eyre not only as one of her favourite musicals but also as a deeply important feminist story. Nearly two centuries after Charlotte Brontë first introduced readers to Jane, her search for equality, independence and self-worth continues to resonate with modern audiences, making the novel as relevant today as it was in the Victorian era.John Caird expanded on those themes, describing Jane Eyre as far more than a romance. For him, it is fundamentally a story about moral growth, self-worth and mortality. He explained how Jane begins life with almost nothing, while Rochester appears to possess everything, before their emotional journeys gradually reverse as the story unfolds. It is this character-driven storytelling, he believes, that has allowed the novel to endure for generations.One of the most fascinating insights into the adaptation came as Caird explained the production's unique approach to narration.Rather than asking Charlie Burn, who plays Jane, to carry every moment of narration herself, the ensemble collectively becomes Jane's voice, allowing the audience to experience the story through multiple performers while remaining firmly rooted in Brontë's first-person perspective. It is an intriguing theatrical concept that immediately distinguishes this adaptation from previous versions.The rehearsal itself offered an exciting glimpse of what audiences can expect when the production opens. The company performed several musical excerpts that demonstrated not only the emotional depth of Paul Gordon's score but also the exceptional vocal ability throughout the cast. Even in a rehearsal environment, the commitment and chemistry between the performers was immediately apparent, creating genuine anticipation for the finished production.Equally impressive was the thought that has gone into the staging.Although designer Morgan Large was unable to attend in person, his creative vision was shared with those present. An open playing space, visible costume pegs, lanterns suspended above the stage and a landscape of thorns beneath combine to create a symbolic environment that reflects both Jane's longing for freedom and the emotional obstacles she faces throughout her journey. Rather than attempting to recreate every location from the novel, the design embraces theatrical simplicity, allowing the company and storytelling to remain at the heart of the production.Another creative decision that stood out was the choice to cast real children in the roles of Young Jane and Adèle. As the creative team explained, experiencing Jane's childhood through genuine young performers helps establish the emotional foundation upon which the entire story is built.Following the presentation, members of the media were given the opportunity to conduct breakout interviews with the cast and creative team before exploring the production's costume and design concepts.Over the coming weeks, The Fan Carpet will be bringing you a series of exclusive interviews from the rehearsal room, including conversations with co-director Megan McGinnis, co-book writer and co-director John Caird, Eve Shanu-Wilson, Emily-Rose Samuel, Poppy Rose Jason and Isabelle Methven, as we continue our coverage leading up to opening night.With rehearsals well underway, one thing was immediately clear: this is a company approaching one of English literature's greatest novels with enormous respect, while confidently embracing the possibilities that musical theatre offers. We look forward to seeing how that vision comes together when Jane Eyre opens at Southwark Playhouse Elephant later this month.
Matty Healy and Gabbriette’s wedding photos are finally here, and the dark romance of it all is truly bewitching. The string of photos—shared by the model in several separate Instagram posts—are chaotic, intentionally low-res, gothic, sexy, and filled with the yearning passion of every Emily Brontë novel—like Wuthering Heights but with grungy, rock ‘n’ roll, Hollywood types. (Rosa Sanchez)
It looked like a Kate Bush lookalike competition was underway in Stratford at the weekend.Dozens of residents – and a few familiar faces – turned out in red for The Most Wuthering Heights Day Ever, held at the Bandstand, on Saturday (August 1).The flash mob was organised to celebrate the career and birthday of singer Kate Bush and also to raise funds for women’s domestic violence and health charities.The group of budding dancers joined thousands of people across the world recreating the video to Bush’s 1978 song Wuthering Heights, inspired by Emily Bronte’s novel.This is the second year the event has taken place in Stratford, organised by Stratford Town Trust and Stratford BID. (Philippa Mingins)
Also in Contrapunto (El Salvador).
The purple, treeless moors found across Britain’s uplands can look timeless and wild. In Jane Eyre, Charlotte Brontë described “the purple moors” as “a wilderness of heath”. Yet these moors have been shaped by clearance, drainage, grazing, pollution and burning. (Joe Glentworth, Anna Gilchrist and Ian Thornhill)
If you are in Germany, Filmstarts and Hitchecker recommend that you watch Emily 2022 on 3Sat today, August 5, 2026, at 10:30 p.m. on 3sat.
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.
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)
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)
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.
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)
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)
‘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)
“Flirting is a woman’s trade, one must keep in practice.” (Charlotte Brontë, Jane Eyre)
LaSexta (Spain) posts about Wuthering Heights.
Move over, Cathy and Heathcliff, we've got a new band of controversial characters to dissect and discuss as we move into the second half of 2026.Should audiences be careful what they wish for? From the moment of its release on Valentine's Day this year, Emerald Fennell’s Wuthering Heights sold a lot of tickets on the promise of A-lister debauchery, but many fans left the cinema a little disappointed with the level of spice. Perhaps it was fate, perhaps it was creative programming, but a far more provocative movie was premiering at the Berlin Film Festival that very same night: Rosebush Pruning. (Rory O'Connor)
Dozens of Kate Bush fans are celebrating her most famous song, Wuthering Heights, with a recreation of the dance from the music video.Dubbed "the most Wuthering Heights day ever", the event at Clevedon's Marine Lake and Bristol's College Green raises money for the charity SARSAS (Somerset and Avon Rape and Sexual Abuse Support).The event will take place today, ahead of the singer's birthday on 30 July."It's enormous fun learning the dance, it's a real challenge as it's not straightforward, and it's not just for the ladies, we welcome everybody," said organiser Bridget Pairaudeau from Bristol.The Clevedon event is believed to be the only one where dancers celebrate on land and in the water at the same time.Last year, the event raised just over £1,000 for SARSAS."They were delighted that we danced for them," said Pairaudeau. (Jonathan Holmes)
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by Alana SanchezISBN-13 : 979-8251483970March 2026The Brontë sisters have long been remembered as literary legends: three gifted women writing in isolation on the Yorkshire moors, surrounded by tragedy and myth. But behind that familiar image were three fiercely intelligent, determined, and ambitious writers who reshaped English literature forever.In this book, they're brought vividly back to life—not as distant icons, but as real women forged by grief, discipline, imagination, and extraordinary creative force. From the harsh realities of Haworth Parsonage to the publication of Jane Eyre, Wuthering Heights, and The Tenant of Wildfell Hall, this biography traces the triumphs, struggles, and heartbreaks that shaped one of literature’s most remarkable families.Rich in atmosphere and grounded in historical detail, this book explores the Brontës’ childhood losses, their secret literary worlds, their fight to publish under male pseudonyms, and the devastating succession of deaths that cut their lives so short. It is a story of resilience, genius, and the unyielding power of women’s voices.For readers who love classic literature, women’s history, and the enduring mystery of the Yorkshire moors, this is a compelling portrait of the sisters whose novels still haunt, challenge, and inspire generations.
Susan Dunne sheds fresh light on the relationship between Charlotte Brontë and Elizabeth Gaskell.Ten years of research have uncovered a wealth of details about the pair's friendship, which lasted from their first meeting in Windermere in 1850 to Charlotte’s death in 1855.The book traces their parallel development from unknown writers to literary giants, and reveals more about the controversy surrounding Gaskell’s The Life of Charlotte Brontë.Susan says: "Charlotte Brontë’s friendship with the novelist Elizabeth Gaskell is one of the most important literary friendships ever and it led to one of the most controversial and enduring biographies ever written."As a student and fan of both writers, I wanted to know more about the friendship – how did they first hear about each other, what brought them together and what did they think of each other?"It was fascinating to find out about their shared views on areas as varied as national and international events, the position of women in mid-Victorian Britain and more domestic concerns such as child rearing. And then they share a lot of gossip about contemporary famous figures as well as discussing the art of writing and their experiences at the hands of critics."As well as considering them as writers, the book looks at how their domestic lives overlapped and examines the different challenges married and unmarried women faced at the time.Susan adds: "Charlotte took an active interest in the lives of the Gaskell children. She wasn’t by most accounts very maternal but the youngest daughter, Julia, was her favourite."I was also intrigued to find out about Elizabeth’s efforts to bring about Charlotte’s marriage to Arthur Bell Nicholls, and her professed willingness to abort Charlotte’s unborn child if it would have helped save her life."And then of course there’s all the controversy over The Life of Charlotte Brontë.“Elizabeth Gaskell tends to get a bit of a bad rap amongst Brontë fans, with some biographers accusing her of duplicity by writing about Charlotte to the press in the hope of getting a commission to write the biography, but I’ve come up with some clear evidence that this did not happen." (Alistair Shand)
4K Blu-ray Video and Audio Review:“Wuthering Heights” is a visually stunning film, with its set design and cinematography being as integral to telling the story the way Fennell wanted as the story itself, and this 4K 2160p/HDR10/Dolby Vision transfer delivers her vision in spectacular fashion for home audiences to enjoy. The details, lighting, camera angles, fog and various other changes to the weather throughout the film all come through gloriously in one of the best looking 4K transfers of the year.On the audio side of things we’ve also got a remarkable Dolby Atmos mix that surrounds the viewer both in fantastic sound effects that just bring you into the world, as well as the beautiful original score by Willis, and the perfectly placed original songs by Charli XCX. The dialogue is crisp and clear, front and center, never battling for center stage. An audio mix like this next to a top tier 4K transfer like we’ve received and whether you love “Wuthering Heights” or not, there’s no denying that Warner Bros. has delivered a masterful home release that fans can devour.Special Features:Audio Commentary – If you’re going to want to hear a commentary from anyone involved in this film it’s going to be Fennell, and that’s what we get here. The writer/director dives deep into the creation of the film, her mindset with the story she’s trying to tell, as well as the casting, the crew, the sets, the music…you name it, she likely touches upon it. As a whole this is a track well worth listening to after watching the film first.Threads of Desire – This featurette is just under 7-minutes in length and aptly focuses on the costume design in the film and the importance they play to the story and characters.The Legacy of Love and Madness – This feaurette is five-and-a-half-minutes in length and sees various cast and crew talk about Brontë’s novel, and how for some this was their first time diving into the world. They talk about how this film isn’t an exact adaptation of Wuthering Heights and shouldn’t be viewed as such, which is something I feel many have missed.Building a Fever Dream – This featurette is just over 12-minutes and sees Fennell and Margot Robbie talk about the production, the set, and the unique brand of storytelling in place here that they hope audiences will latch onto. (Brendan Campbell)
Like so many, I spent part of my Valentine’s Day at the theatre, watching Emerald Fennell’s highly anticipated (and equally controversial) new film with a friend. Having consumed enough online discourse, I went in with low expectations and the assumption that I wouldn't enjoy it. In the end, my low expectations were somewhat exceeded, and I ultimately gave it a solid 3-star Letterboxd review.So, does Wuthering Heights do justice to the novel it's based on? The short answer: Not exactly. But that shouldn't stop you from seeing it for yourself, nor should it stop you from enjoying it. [...]If we're answering the question of whether Fennell's movie "did justice" to Brontë's Wuthering Heights, then the answer would objectively be no. But if one is asking whether or not the movie is good, then the answer is more murky. It's a visually beautiful film with an easy-to-follow plot and emotional moments (Even a skeptical viewer like me cried at one point).Ultimately, no amount of social media discourse or negative reviews should interfere with whether or not you decide to see a movie, or even whether or not you enjoy it. So whether you're a die-hard Brontë fan or someone unfamiliar with the novel, Wuthering Heights might just be for you. (Amy Guerin)
The two leads have an electric chemistry as the doomed Cathy and her toxic lover Heathcliffe but while it’s stunning to look at, their volatile, cruel and tumultuous relationship ultimately becomes a bit of a slog. (James Wigney)
Tea time has always been a very prominent cultural part of the British era. It finds ample mentions in poems and novels of that time. From Jane Eyre’s lavish parties to Jane Austen’s portrayal of the elite class, it finds a mention there. Items like freshly baked breads, scones, seasonal jams and a variety of tea often formed a part of this set-up. (Subhadrika Sen)
This enduring oversight could be for all of these reasons or a combination of some. Still, I resent the descriptions of Anne by journalists such as Charlotte Cory as the “runt of the literary litter”, and urge readers and Brontë fans to give her work a chance in its own right. (Amy Wilcockson)
The moors provide a staggering wealth of sensory inspiration. There is the visual poetry of purple heather and bright yellow gorse, but the true magic lies in the air itself: the scent of peaty, rain-soaked earth, moss-cloaked stones, and the sharp, ozonic chill of an approaching storm.Beyond the wilderness lies the atmospheric indoor world of the Heights and Thrushcross Grange: the smoldering woodsmoke of a centuries-old hearth, the bitterness of kitchen herbs, aged tobacco, and the sweet, golden comfort of honey and oats.If you've ever wished to carry the essence of the moors with you, I've curated a list of 12 niche and indie fragrances that capture the very heart of the Brontë sisters' world. From photorealistic rain to gothic smoke, here are the scents that will make you feel as though you've stepped directly into the mist: (Savannah)
A letter sent to the Craven Herald in 1914 shed light on author Charlotte Brontë's links with Craven. It also revealed some other fascinating snippets, writes Lesley Tate.Novelist Charlotte Bronte spent a short time as a governess for a family at Stone Gappe, on the Skipton side of Lothersdale.And 112 years ago, a "correspondent" for the Craven Herald wrote of her connections with Craven and her apparent dislike of children.Charlotte, the eldest of the three Brontë sisters who survived into adulthood, lived at Haworth where she wrote her masterpiece, Jane Eyre, under the name of Currer Bell.Trained as a teacher, she spent a few years, between 1839 and 1841 as a governess, including to the Sidgwick family at their summer resident, Stone Gappe in Lothersdale.Charlotte was employed by the Sidgwicks in 1839, but did not take kindly to children, according to the Herald of 1914.On June 8, 1839 in a letter to her sister, Emily, she wrote: "The country, the house and the grounds are divine. . . The children are constantly with me, and more riotous, perverse, unmanageable cubs never grew."The Herald's correspondent of June, 26, 1914, a few weeks before Europe was plunged into war, wondered what Charlotte would have thought of the modern "enfante terrible"."Surely, most children answer to her description at some period of their lives, and is it not only healthy that they should?" they asked.Charlotte, who stayed for just a month at Stone Gappe before moving on, wrote in the same letter to her sister about Mr Sidgwick."Mr Sidgwick walked out with the children, and I had orders to follow a little behind."As he strolled on through the fields with his magnificent Newfoundland dog at his side, he looked very like what a frank, wealthy, Conservative gentleman ought to be. He spoke freely and unaffectedly to the people he met, and though he indulged his children, and allowed them to tease himself far too much, he would not suffer them grossly to insult others."It may be that Mr Sidgwick was the inspiration for Edward Rochester in Jane Eyre, published in 1847. Mr Rochester, who employed the young Jane as his governess, also had a large Newfoundland dog.It has also been suggested that one of the Sidgwick's children, John, who at one time threw a bible at Charlotte, was the inspiration for John Reed, who in Jane Eyre, throws a book at the young Jane, his step-sister.The Herald pointed out Charlotte's use of the word Conservative, and explained it was then almost a new word when applied to politics. "The good old word 'Tory' is now only used as a catchphrase by our political opponents, " said the correspondent, who left readers in no mistake as to their political leanings.Charlotte appeared to have little success as a governess, the correspondent continued, passing from post to post very rapidly.Another sister, Annie Bronte, wrote in her diary: "Charlotte has left Mrs Wooler's, been a governess at Mrs Sidgwick's, left her, and gone to Mrs White's". The extract was dated 1841, which, bearing in mind Charlotte was born in 1816, showed that she had been a governess with at least three families before she was 25-years-old.Charlotte wrote under the name of Currer Bell, and there were two popular theories about the origins of her pseudonym.One was that she had been inspired by Currer Hall, near Beamsley. But the Herald's correspondent favoured a different theory. "It is more probable that it was then in honour of the family of Currer, who then lived at Kildwick Hall. The Currers possessed a magnificent library, the greater part of which is now at Eshton Hall, " said the correspondent.There was also connection to a former headmaster of Skipton Grammar School, a Dr Cartman, who was described as a "great friend" of Charlotte's father, Patrick Bronte.A letter from Charlotte written when she was in London in June, 1851, to her father begins: "Dear Papa - I am glad to hear that you continue in pretty good health, and that Mr Cartman came to help you on Sunday."The Rev Patrick Brontë died in June, 1861 and the Bradford Review in describing the funeral at Haworth, mentions that Dr Cartman, of Skipton, was one of the bearers.The Craven Herald of June, 1853, which was then a monthly publication, described the consecration of St Mary's Church, Embsay, in which the name of the Rev A B Nicholls was included. Mr Nicholls, then curate to Patrick Brontë at Haworth, was eventually to be married to Charlotte, but according to the Herald at the time, it was not a relationship approved of by Charlotte's father."It was in December, 1852, that Mr Nicholls proposed to Charlotte, " said the correspondent."Her father, who appears to have been of a violent temper, would not hear of the match. His relations with Nicholls afterwards became so strained that the latter had no alternative but to leave."Mr Nicholls departed Haworth in May, 1853 - some ten days after the consecration of Embsay Church."It is now a matter of history that Charlotte eventually married Mr Nicholls, who survived her by many years, " said the correspondent, who writing a 100 years ago, added he had died just a few years earlier. Mr Nicholls left his portrait of Charlotte to the National Portrait Gallery, London. (Lesley Tate)
Back in the village, stop by Harrington’s butcher and deli for what locals say are “the best quiches this side of Manchester,” or enjoy a pint at The George, the 16th-century inn where a young Charlotte Brontë once stayed and found inspiration for Jane Eyre. (Vaishnavi Pandey)
A curlew conservation campaigner will spread his wings across Yorkshire's Three Peaks on Sunday for his latest fundraising challenge.Matt Trevelyan will attempt to scale Pen-y-ghent, Whernside and Ingleborough in under 12 hours - dressed as his feathered friend Cathy the Curlew - a 10ft (3m) long home-made costume.Trevelyan will be joined by his partner Claire, who will bring a touch of romance to the trek as Cathy's curlew companion Heathcliff. (Samantha Whelanand and Georgey Spanswick)
And even if they get it wrong like Emerald Fennell's heavy breathing adaptation of Charlotte Brontë's Wuthering Heights, at least they tried. (Kaveree Bamzai)
Before you descend to the comments/clutter up my mentions about this, some context for what kind of cultural consumer I am: I would so much rather see some insane-concept Shakespeare than the classical-dress one. Which leads me to put a clarifying question to you, dear reader: what are you looking for in an adaptation? Are you looking for a one-to-one analogue? By that metric, The Shining is inarguably a terrible adaptation—but as I’ve said elsewhere and as I’m sure many would agree, Kubrick’s film is a great adaptation because it does a spectacular job adapting its source material, which is to say taking the original and transmuting it into something new, something different, and yet something that nevertheless feels of-a-piece. So it is with Fennell’s film! (Although, to be clear: I’m not here to tell you Wuthering Heights is an equivalent piece of film-making—it isn’t.)There was a lot of flack being flung at this Heights for being all vibes, but honestly, why not do that with an adaptation? Adapting a classic novel is always going to be a risk, because generations of people have read it and culturally it has become something everyone has a vague opinion about—so you’re always going to have people who are mad that it didn’t include X thing that they really cared deeply about.And Emily Brontë has always been the coolest (slash “weirdest“) of the Brontë sisters, the one onto whom you can project the most—and whose single book was resolutely cooler, sexier, stranger than the combined works of either of her sisters. So why not make a sumptuous Gothic feast of a film lensed through a Millennial’s memories of the covers of supermarket-checkout-line bodice-rippers they maybe wanted to be reading instead when they were first assigned the Brontës?Give me this kind of weirdo interpretation over yet-another-stuffy-period-piece any day! I’m going to remember some of the images from this film forever (the leeches! the houses, both of them! the very-Millay-esque piles of gin bottles!) while other aspects fade entirely—which is, funnily enough, exactly what has happened to me with the actual novel. (Drew Broussard)
A brand new production of Jane Eyre, based on Sally Cookson, Mike Akers and the original company's adaptation of the Charlotte Brontë novel, will come to the Mercury Theatre Colchester in September.Jane Eyre will be directed by Lily Dyble as a result of her winning the 2025 Royal Theatrical Support Trust Sir Peter Hall Director Award.The co-production, supported by a grant from the RTST, will premiere at the Mercury Theatre from 26 September to 10 October, before touring to Rose Theatre from 13 to 24 October, Northern Stage from 3 to 7 November and Storyhouse from 10 to 21 November. [...]Director, Lily Dyble says, “What I see at the heart of this story is courage in the face of the unknown. Jane Eyre reminds us of the risk and enormity of love, but also how uncertainty can breed hope, as well as fear; that we can choose to fiercely love each other and ourselves, even within chaos, and even when our old lives have been lost to the fire. I'm thrilled to be bringing Jane's story to audiences across England this autumn, with the support of four wonderful venues and the RTST.”Artistic Director of Mercury Theatre, Natasha Rickman says, “We are absolutely delighted to be working with Lily Dyble, who is a director of real vision and talent. We are thrilled also to be co-producing this with our friends at the Rose, Storyhouse and Northern Stage, and to be collaborating with the brilliant RTST; the Sir Peter Hall Director Award spotlights so much extraordinary talent throughout their process each year, and it was a joy to meet so many brilliant artists. I cannot wait to see Lily's staging of this epic and gripping story and to share it with audiences across the country, alongside our co-producers.” (Stephi Wild)
There’s a certain pull to stories that take something familiar and rework it into something new. With The Chateau on Sunset, Natasha Lester has taken Jane Eyre and placed it inside one of Hollywood’s most infamous hotels, the Chateau Marmont. The result leans into the glamour of the era while exposing what sat behind it. [...]The idea did not begin in Los Angeles. It came to her on a train in Italy.“I was sitting on a train to Florence, thinking about books I’d enjoyed,” Lester says. “Hello Beautiful by Ann Napolitano was one, which is loosely based on Little Women. Demon Copperhead by Barbara Kingsolver was another. Suddenly the idea popped into my head as I looked out at the Northern Italian countryside. What if I did something like that with one of my favourite books, Jane Eyre?”That moment shaped the direction of the novel. It also changed how she approached the story. She started with a literary foundation and asked what might happen if it unfolded in a place defined by fame, power and secrecy.Her connection to Jane Eyre runs deeper than admiration. It is tied to what she believes the original heroine never truly received.“Jane Eyre was a woman who yearned for liberty. She looked at the horizon and longed to go beyond it,” Lester says. “The ending is romantically satisfying, but she never really got what she most wanted. That didn’t seem fair.”That sense of unfinished business became central to the novel.“I wanted to write a story where Jane got both a romantically satisfying and a personally satisfying ending. An ending that such a great heroine deserved.”The Chateau Marmont plays a strong role in the story, and its presence came about unexpectedly.“I was struggling to find the voice of the story,” she says. “I started handwriting pieces just to see where my imagination would take me. In one of those, the Marmont took on a voice and a sense of itself. I loved it.”From there, the hotel developed into something that feels watchful, holding onto the secrets of the people who pass through it. That reflects the real history of the Marmont, long associated with excess and scandal.Researching Hollywood’s Golden Age revealed a version of the era that contrasts sharply with its polished image.“There was a lot of ugliness beneath the glamour,” Lester says. “Women were fighting every day against a very male-controlled studio system that wanted to take away their power.”That tension carries through the novel, particularly in how women were labelled, controlled and often silenced. Many of those stories were hidden or reframed at the time. (Emily Darlow)
No visit to the Peaks would be complete without a stop at the village of Hathersage, home to a heated open-air pool. It’s an idyllic village with a literacy legacy; its rugged landscapes inspired Jane Eyre (there’s even a Jane Eyre walking trail) (Jake Hall)
A plague of beetles have caused havoc for visitors flocking to the village made famous by classic novel turned current blockbuster Wuthering Heights. Swarms of the flying insects created mayhem when they descended on the picturesque village of Haworth where people travel from all over the world to visit the Parsonage where the Brontë sisters Emily, Charlotte and Anne lived.The aggressive beetles descended during last week’s warm weather converging on the mass of visitors making a homage to the historic West Yorkshire village, and now museum bosses and hospitality venues are bracing themselves for more summer swarms with warmer weather again on the horizon. According to one member of staff at the Parsonage the insects “came out of nowhere” on Wednesday lunchtime and were the worst he had ever experienced. He told people being as they queued outside the venue: “I was in the adjacent fields this morning and they were not there then, but suddenly around lunchtime they just appeared. There are lots of fields around so flies insects are not unusual but I’ve never known anything quite like this.”One visitor Amelie, 21, from Edinburgh told how she had been enjoying al fresco lunch with her family on a café on the main street when they were suddenly “bombarded.”She said: “We’d just found a lovely sunny spot and had just ordered our lunch when I spotted a beetle land on my drink glass. Then another landed, and another, and then I started feeling them on my neck, on my arms and on my legs. They were everywhere and by the time our meal arrived, we and everyone around us were swatting away like mad.“But it got even worse once we joined the queue for the Parsonage and was so bad at one stage we considered abandoning our trip. It was better once we got inside, but they had found their way inside everyone’s clothing and it was pretty horrible to be honest. We were still finding them hours after we left Haworth – they seemed pretty invincible bugs but at least they didn’t bite. I hope it’s not a sign of things to come this summer.”Katherine Hill, 53, from Leeds said: "It was such a beautiful spring day in one of my favourite places to visit. But the beetles caused mayhem, people were pulling them out of their shoes, their clothing, their hair and their ears. They were so small and there was just no escape - even inside the museum." (Paul Jeeves)
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Between Two Books (Florence Welch): ‘Villette’ by Charlotte Brontë
Did you know that Florence Welch has a book club? The Florence and the Machine singer periodically shares her book picks with her Between Two Books book club. This season’s pick in Villette by Charlotte Brontë. This lesser-known title from the author of Jane Eyre follows a young 19th-century woman as she leave England to take a teaching job in Belgium.
Villette is “an autobiographical study of solitude and unrequited love,” noted the Between Two Books Instagram. (Megan Elliott)
7. The married Belgian professor Constantin Heger inspired which character in the novel Jane Eyre? (Olav Bjortomt)
In a since-deleted post, the same X user also uploaded a screenshot to the platform of a text conversation with an “industry insider” who alleged that two songs on Charli’s Wuthering Heights album were “ripped” from Ferreira demos dating back to 2018 and 2015. Ferreira responded to those claims via Instagram comments as well, sharing, “Your industry ‘insider’ is wrong. Close but wrong…It isn’t worth the trouble bc I know how the world works.”‘Ferreira is, however, credited as a featured artist, co-writer and vocal producer on Wuthering Heights track “Eyes of the World.” (...)When asked for comment, her management team shared the following statement with Billboard: (...)“Ahead of the Wuthering Heights album release, a standard review process was conducted on a small number of tracks from the album, including fragments of material originating from earlier sessions. This process involved managers, legal representatives, artists and producers, and included a thorough review of archival materials and demo recordings. (Lyndsey Havens)
Fennell tan sólo se interesó en adaptar medio libro y a unos pocos de sus personajes, pero no perdió oportunidad para sembrar sugerencias eróticas visuales y auditivas, así como insinuaciones de bondage y S&M. Lamentablemente, más que una obra estimulante, nos conduce por el terreno del fan fiction calentón, ese universo de fantasías juveniles o amateurs, a la vez morbosas y puritanas, desahogo sin literatura, “plagio” legitimizado y cursilería masturbatoria desenfrenada. (...)Este ejercicio de estilo muestra una obsesión física muy oportuna en tiempos de looksmaxxing, en que todo mundo es bello y nadie quiere tener sexo (aun cuando lo tengan en exceso). Pero lo importante es que nos obliga a preguntarnos qué significa y para qué sirve una adaptación de la literatura al cine (especialmente al tratarse de un clásico). Y la respuesta tal vez es que sirve para ayudarnos a diferenciar el melodrama de la tragedia. (Naief Yehya) (Translation)
On Wednesday, 8 April at 6.30pm, the Boiardo cinema theatre in Scandiano (RE, Italy) will host a special screening of Wuthering Heights 2026, where the audience is invited to knit along, with dimmed lights to keep needles and eyes busy at once. The initiative grew out of a Friday knitting group led by Katia Tosi accoding to Il Resto di Carlino.
I loved Charlotte Brontë’s Wuthering Heights (sic). It’s a classic. I love a dramatic love story and it’s the ultimate bad love story. I love its imagery and its language, the way land is used to depict emotions. I was a cool kid that was with a gang who were robbing cars but reading Wuthering Heights at the end of the day, but I couldn’t tell them. You can't smoke your smokes at the back of the bike sheds while you're reading Charlotte Brontë (sic again).
Teasing becomes taunting, care becomes control and sexy times on the sofa become furious spats over Christmas presents (“You gave me a brooch made of teeth, Albert!”). The relationship is coercive, yes, but perhaps also co-dependent: Victoria’s panic keeps her obedient. A scene in which she reads from Jane Eyre signals the gothic fate which, [Daisy] Goodwin imagines, Albert might have planned for her. (David Jays)
AnneBrontë.org shares an 1853 Easter letter from Charlotte Brontë to Ellen Nussey, in which Charlotte declines a visit due to her duties as a vicar's daughter while also defending Lucy Snowe as a deliberately less idealized heroine than Jane Eyre.
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by Slas ClaytonWolf Moon BooksASIN : B0GLHR2VQVFebruary 2026What happens to Heathcliff in the years he disappears from Wuthering Heights?When Heathcliff vanishes from the moors, he leaves behind humiliation, hunger, and a house that never truly let him belong. Three years later he returns a wealthy, dangerous man—changed beyond recognition, carrying a fortune no one can explain.This novel enters that silence.Set against the brutal campaigns of the Napoleonic Wars, this dark gothic historical fiction reimagines Heathcliff’s missing years: from a London inn and a prison cell to the smoke-choked battlefields of the Peninsular War, where class dissolves under cannon fire and a man’s worth is measured by survival. Enlisting as a private, Heathcliff learns the cruel mathematics of war—how violence, discipline, and patronage can remake a man, and how power is gathered not only with steel, but with patience.As Europe burns, Heathcliff moves through army camps and battlefield chaos, catching the attention of men who see in him either a weapon or a threat. His fortune is not won by chance, but by blood, endurance, and a dangerous alliance that will follow him long after the guns fall silent.Haunting, atmospheric, and unflinching, this is a gothic reimagining of Wuthering Heights—a story of exile, ambition, and transformation, where love curdles into obsession and absence becomes a forge.For readers of dark literary fiction, historical war novels, and classic retellings with teeth.
A new study of 2,000 UK adults has uncovered the most romantic written lines of all time, drawing on classic literature, poetry, film and song to pinpoint the phrases that still make hearts flutter in 2026. And while the nation clearly still cherishes grand declarations of love, the research suggests many of us are quietly losing the confidence to put our own feelings into words.Topping the poll is Charlotte Brontë’s enduring promise from Jane Eyre:“My heart is, and always will be, yours.”A line that has survived nearly two centuries — and still beats every modern text message hands down. [...]Emily Brontë’s Wuthering Heights also secured its place in the nation’s heart, with Catherine Earnshaw’s declaration of spiritual unity — “Whatever our souls are made of, his and mine are the same” — continuing to define literary passion at its most intense. (Liz Charlton)
It is a truth universally acknowledged, that a man without possession of the facts, will get a telling off from his wife.And so it proved for Nick Robinson on Tuesday, who earned the ire of Today programme listeners – and his wife – for seemingly mixing up the author Jane Austen, on the 250th anniversary of her birth, with another literary heroine.While discussing Jane Austen Day with his co-presenter Anna Foster, Robinson, 62, said he was 'game' to do a live action reading of her works on the Today Programme and would even don some historical clothes for the occasion.But he seemed to confuse the Pride and Prejudice author with Emily Brontë, as he added: 'I will pop out and get my Heathcliff costume'.He was soon inundated with complaints informing the presenter, who earns £410,000 for his work at the BBC, that Heathcliff was in fact a central character of Emily Brontë's 1847 novel Wuthering Heights.The author Adrian Hilton said: 'I'm still trying to work out why for a recital of Jane Austen, Nick Robinson said he would 'pop out and get my Heathcliff'. Does he think she wrote Wuthering Heights?'Later in the show, Robinson said that one woman in his household was particularly displeased with his mistake revealing that Pippa Robinson, his wife of 34 years, had been in touch.He said: 'My wife has texted me, along with quite a lot of other people who've messaged, saying 'Don't dress as Heathcliff, you fool!'Robinson later made a further blunder when he told listeners: 'I should just say that when we're focusing on BBC standards, can you imagine someone on Jane Austen Day would then promise to dress up as a Charlotte Brontë character?'Mixing up Charlotte, who wrote Jane Eyre, with her young sister Emily.Robinson then appeared to mock US President Donald Trump's lawsuit against the BBC, when he apologised for the gaffe and said: 'If there is a Jane Austen charity, I promise to pay five billion dollars in compensation to them for the offence that I have caused to them and all her supporters.' (Grant Tucker)
There’s one film Felicity Jones can’t wait to see next year: Wuthering Heights. “If you are going to do a classic, then it’s [about] finding a new way in,” she says. “I like the way that Emerald Fennell did that with Brideshead Revisited with Saltburn. She takes quite a classic story and then spins it and makes it alienating a little bit.”Evelyn Waugh’s 1945 classic is one of Jones’s favorite novels — Emily Brontë’s Wuthering Heights is too; more on that later — and the 42-year-old actress increasingly finds herself reading to find “stories that can potentially work on screen.” The key, she says, is finding the why. “You’ve got to find the: Well, what is the reason to tell it now? What is the modernity in it that we need to do it? Otherwise, what’s the point?” [...]Her third pick, Wuthering Heights by Emily Brontë, nearly didn’t make the list. “I really like the Brontë Sisters and I was actually torn between Wuthering Heights or Jane Eyre,” she says. “There’s always a brutality to their writing. There’s an emotional intensity. It’s so impassioned, and there’s a real toughness to it.”She continues: “Growing up in the moors with that intense family and then the environment they were in, it’s just so unforgiving,” she says. “They managed to distill all of that into their work, particularly in Wuthering Heights. I just was really quite captivated by the book from quite a young age for that reason.” (Charlotte Owen)
"Wuthering Heights"Release date: February 13, 2026Everybody's eyes are on Emerald Fennell's upcoming adaptation of Emily Brontë's gothic romance for two overarching reasons. One, Fennell's movies tend to be divisive. Two, if there's one thing that people love to do it's critique film adaptations of classic literature to death. Remember the hoopla over that Persuasian [sic] with Dakota Johnson? The knives are out to pick apart everything from the casting of Margot Robbie and Jacob Elordi as Cathy and Heathcliff to the costuming and the scare quotes in the title. Some points are valid, others more tedious. But all chatter is good chatter, right? (Leah Marilla Thomas)
3. Wuthering Heights by Emily BrontëIf Wuthering Heights only flew onto your radar because of Emerald Fennell's upcoming adaptation, may I humbly recommend the source material? Where Austen was vivacious and playful, the Brontë sisters were gothic in the extremes—deaths, secret wives, lonely moores—but still managed to deliver some of the most romantic lines ever. Example: "Be with me always—take any form—drive me mad! Only do not leave me in this abyss, where I cannot find you!" Swoon. That line alone made me want to pardon Heathcliff. Brontë's most enduring work is a tragic story about love and loss as lovers grasp across a social divide, anchored by a boiling quest for vengeance. (Marissa Wu)
Per The Cut, we have cruised into a "Horny Lit Girl" winter that has catapulted beloved literary works into sexy screen adaptations. Prime example: Wuthering Heights. I never knew I could look at an egg like that. But also, Frankenstein, Hamnet, The Housemaid and Hedda. Don't get me wrong—I loved Frankenstein, PureWow Editor-in-Chief Jillian Quint raved about Hamnet. But I really must ask, can we not with Horny Lit Girl winter? [...]A prime example of an upcoming adaptation would be Wuthering Heights. Thus far, media coverage has led with words like "provacative," "latex" and "steamy." As an incensed Redditor (whose sentiments were widely echoed) aptly put it: "As a person whose favourite era of literature is Victorian because of how they portrayed intensity and passion and angst and sexual tension WITHOUT explicit sex, it annoys me to no end that they just want to shock people with as much explicit stuff as possible. (I have no issue with explicit sex at all, just saying that the Victorian era was very puritanical). Also they are clearly rage marketing because people will now go to watch and see how far she has gone. It might not even be about the source material at this point."It's the last sentence that gets me. That in the tizzy of egg yolks and sweaty skin, sensual bread dough and anachronistic latex, we've lost the actual plot. Granted, the film's creators promise that provocation isn't front and center, but the general problem is that provocation is an attention hog, no matter which way you slice it. And if someone hasn't actually read Wuthering Heights, they'll lose the nuance of conversation that made Brontë's book the coarse and shocking work it was. Love, rage, abuse, grief and, importantly, the sticky questions of social class, race and England's colonial legacy.I don't want or need an orgy. I want sex to underline the connection between the characters and the emotion they feel—be it anguish, passion, fear, rage, euphoria. I want it to have a purpose instead of being the purpose. If that makes me a prude, so be it. (Marissa Wu)
Third Space Theatre Company’s iteration of Polly Teal’s [sic] Brontë is an entirely charming production that marks the end of another successful term of student theatre under the lights of the Assembly Rooms Theatre. At its core, a number of excellent performances elevate the play into resounding success. [...]Immediately striking is the beautifully designed stage that is fully fleshed out to create the Brontë’s home. All the wooden furniture is perfectly fitting; the back wall is filled with books and hung with pictures all to build up this domestic affair. Brightening this set is some lovely lighting, designed by Cassia Thurston, that is varied in both scope and colour, rising to the challenge of spotlighting characters entering down past the audience a number of times. Similarly, I thought the sound design, designed by Oliver Fitzgerald, backed up the more emotional moments very well, although I thought there needed to be a more noticeable fade for the end of effects so that music didn’t end quite so abruptly. Additionally, I really liked the costume design by Ellie Kinch as the three sisters are decorated in period-accurate dresses and three different colours to give them visually distinct appearances.However, the key to this performance’s success is undoubtedly the strength of the acting, which is consistently good across a cast of just seven actors. The dynamic between all three Brontë sisters is brilliant, with the most time given to fleshing out the bubbling tensions between Charlotte (Peony Reece) and Emily (Martha Buttle). The two play off each other very well with their frequent clashes constantly raising tensions and building the drama. I also enjoyed Jake O’Donnell’s performance as the domineering, and quite frankly scary, father figure who tries to keep the three girls in line; he is totally in control of his dynamic range the whole way through to establish authority. Similarly, Matthew Lo delivers wonderfully in his trio of roles, delivering an unexpectedly hilarious turn in the play’s climax. Nevertheless, the most committed performance comes in the form of Branwell Brontë, played by Jack Guilfoyle, who embodies this utterly detestable character before his downfall in the second half.I also thought there were a number of great directorial choices, under the watchful eye of Grace Graham, that contributed to the creation of this spectacle. Throughout the play, different characters suddenly switch into fictional characters from within the Brontë’s books and deliver lines in perfect unison with the sisters. The use of the three sisters as narrators at varying moments also works well, seamlessly switching from sister to narrator and back again. However, even if you are familiar with the Brontës’ fiction, it’s sometimes a little confusing when a character switches from a historical figure into a fictional one from their writing – although I think this is more a pitfall of the original script. I’d have also liked to see a little more consistency over accents, as the cast doesn’t seem unified over one specific accent choice.Nevertheless, the play builds towards a dramatic ending that pulls on the audience’s heartstrings as characters die – as in real life – suddenly and unexpectedly. Branwell’s death scene in particular features a really touching choice that sees the sisters mourning at the front of the stage, as he acts out childhood fantasies on a chair in the middle of the stage, recalling the first half’s initial domestic bliss that has subsequently been shattered.Overall, the play is a resounding success through its balancing over excellent performances all-round with suitable directing choices that bring the Brontë sisters’ story entirely to life. The consistent standard set throughout all facets of the production really exemplifies what makes student theatre so brilliant in Durham. (Ralph Hargreaves)
Wuthering Heights — directed by Emerald FennellIn theory, it is the classic, period costume version of Emily Brontë’s novel; in practice it is the first version of a great classic of female Romantic literature, directed and written by an openly feminist author (the one behind Promising Young Woman and Saltburn) in an era of role revision. You can already see this from the casting: the protagonist, Margot Robbie, is older (by seven years), more well-known, and more production-powerful than the male lead, Jacob Elordi. (Gabriele Niola)
Charli XCX, ‘Wuthering Heights’Charli XCX helped everyone have a Brat summer with her 2024 album, and now the pop superstar is getting ready to hit the music world again with her LP “Wuthering Heights.” The album is the official soundtrack for the upcoming film of the same name starring Margot Robbie and Jacob Elordi. The LP comes as Charli XCX has “been in a state of overwhelming creativity of late, so much so that I feel like I’m running on the spot in a dream,” the singer wrote on Substack. A single from the album, “Chains of Love,” is out now. (Justin Klawans)
Puestos a escoger, me inclino por las hermanas Brontë, biográficamente más interesantes, más rebeldes, más desmesuradas. Anne fue la menos conocida porque, tonta de ella, se dedicó a la poesía [??? !!!]. Luego viene Charlotte en mis preferencias. Su 'Jane Eyre' logra una descripción ajustada y certera de la sociedad de la época, con toques de humor más marcados que su colega Austen. Por último, la «loca de la casa»: Emily. Con sus 'Cumbres borrascosas' se marca un desmadre romántico gótico de mucho cuidado. También esta novela sigue gozando del favor de los lectores y los adaptadores a lo audiovisual. Es tan excesiva que resulta cautivadora. Sin duda, la más imaginativa de las tres. (Translation)
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Wednesday 19 November, 202522:00 BBC FourThe BBC’s 2006 adaptation of Jane Austen’s (sic) classic novel Jane Eyre was a hit with critics and viewers alike, and brought together actors Ruth Wilson and Toby Stephens in the leading roles of Jane and the brooding Mr Rochester.Here, the reunited pair look back on the production, sharing their memories of being part of the cast, recalling what it was like working opposite each other and outlining the challenges involved in bringing such iconic characters from English literature from the page to the screen.
What’s your first Yorkshire memory?This would have been some 30 years ago, when I visited with a friend who was as besotted with The Brontë Sisters as I was – and I still am. We went over to Howarth [sic], and we explored every nook and cranny, and we loved it all – the cobbled streets, the little shops, the museum. It didn’t disappoint in any way at all, and we had a full weekend there. It just confirmed, and cemented everything that we’d read in the books. (Phil Penfold)
The book I could never read againAnything by a Brontë. I just don’t need that much torment in my life, and if I do, there’s always Catullus.
A boarding school in 1928 Sussex, England, is the centerpiece of Spoiled Milk by Avery Curran (Doubleday, Mar. 2026). Two rival students at the secluded Briarley School for Girls team up to solve the mysterious death of their classmate, and it soon becomes clear that something supernatural is afoot. Curran describes Sussex as “a pretty pleasant place,” in contrast to the “oppressive weather” and “gloomy landscape” of books like Jane Eyre. But like the other locales discussed in this piece, it’s not without its terrors. (Elyse Martin)
This weekend will be the last chance to see a collection of unique sculptures on the moors that inspired the Brontë sisters.Wild uplands is a Bradford 2025 project that has seen four artists create sculptures for Penistone Hill, just outside of Haworth.They have included marble butterflies, a huge tower covered in wool and bizarre figures based on the Cottingley Faeries.The outdoor installation opened in May, and officially ends on Sunday (October 12).The sculptures will then be removed, with some being donated to local community groups.The exhibition is accompanied by and audio trail called Earth and Sky.A partnership between Bradford 2025 and Opera North, the project has seen composers Caterina Barbieri, Nyokabi Kariũki and Gwen Siôn create new music and sound works inspired by Penistone Hill – and by the music of Bradford-born composer Frederick Delius.The trail is free and open 24 hours a day.
Once home to the Brontë sisters, stepping into this West Yorkshire village feels like walking straight into a novel or period drama. It's the perfect place to go if you enjoy history and literature but it is also filled with lovely coffee shops, cobbled streets, independent shops and stunning views of the countryside. Haworth is around 182 miles from the Cotswolds, yet it shares that same timeless beauty, with cobblestone lanes and honey-hued stone buildings that feel frozen in time.At the heart of the village is the Brontë Parsonage Museum, the former home of the Brontë family. It’s here that some of the most iconic novels in English literature were penned including Jane Eyre and Wuthering Heights, and today it brings thousands of visitors each year who come to walk in the footsteps of the literary sisters. (Jennifer Pinto)
En Haworth, pueblo de la autora de Jane Eyre Charlotte Brontë y sus hermanas Anne, Elizabeth y Maria, se puede visitar la casa en donde vivieron en el ahora Brontë Parsonage Museum. (Natalia Maynez) (Translation)
Finally, some videos. The Brontë Sisters UK explores Haworth's historic church steps and their connection to the Brontë family, and The House of Brontë makes a Brontë literary tour around London.
Wisconsin writer Jane Hamilton’s eighth novel – the “A Map of the World” writer’s first since “The Excellent Lombards” in 2016 – is of a familiar type. It’s a summer-that-changed-everything story that focuses on Phoebe, who is 17, very dramatic, obsessed with “Jane Eyre,” frustrated with her mother Greta and eager for her life to begin, particularly if it does not include her do-gooding mom. (Chris Hewitt)
Growing up, the White Lotus star felt a "deep need" to be "normal", but she realised it was OK to be different like the people she admired, including Jane Eyre - the fictional bildungsroman in the novel Jane Eyre by Charlotte Bronte.Aimee explained: "Growing up, I felt a deep need to be 'normal', but then I realised all my favourite people, all the people I admired, were weird - even my favourite characters, like Jane Eyre.
Richard - It's something called Ignis Fatuus, which I guess is Latin for foolish flame. It's a luminous phenomenon witnessed over the centuries by observers around the world. People have attributed all types of things to it, often pretty scary, lost souls, babies that haven't been baptized who have died, all types of folklore. It was reported in the literature by the Chinese long ago. William Shakespeare refers to it, and Henry IV, even Charlotte Bronte has it in Jane Eyre, this Ignis Fatuus, or Will of the Wisp, as it's often called.
An enriching and haunting tale of grief, generational trauma and the weight of the past, Emily Brontë’s stunning novel “Wuthering Heights” is a must-read for lovers of literature. Brontë spins a tale of unresolved agonies that tear their way into the present, as a new tenant finds himself unraveling the tangle of broken relationships that rose and fell between his own house and the estate on the nearby moors.A masterwork of the gothic style, a sense of mourning clings to every page of “Wuthering Heights” like creeping fog on the moors. The tempestuous relationship between the headstrong Catherine and the sullen Heathcliff is threatened by external and internal forces alike; what is left unsaid between them echoes outwards and pulls the ones around them into their tragedy. Brontë writes with incredible force, decisively exploring how abuse and grief send ripples of pain into future generations through just a handful of characters.Gothic novels are already best suited to being read in the colder, darker months of the year, and “Wuthering Heights” is so exceptional among them that it deserves top priority on your list for this autumn. Thrilling, tragic and ultimately, rather hopeful, “Wuthering Heights” is a stunning work of literature undeniably deserving of the title of “classic.” (Natalie Salter)
This Rogers Park Author Combined ‘Wuthering Heights’ And Ice Dancing Into A Bestseller. (...)The names Katarina and Heath may bring to mind another famous fictional romance. Undertones from Charlotte Brontë’s (!!!) gothic classic “Wuthering Heights” are plentiful in “The Favorites,” including a sibling ice-dancing pair that the couple competes against (the Lins, standing in for the Lintons in the book). You can also find some Brontë pseudonyms as character names. (...)“When I first came up with the idea, I completely doubted it. And even the whole time I was writing it, I was kind of like, ‘I’m really into this, but will anyone else like this? Like ‘Wuthering Heights’ and ice dancers?'” (Gwen Ihnat)
Jane Eyre – Charlotte Brontë (1847)If “Pride and Prejudice” is the pinnacle of Romantic Comedy, then “Jane Eyre” can certainly be nominated for the coveted title of Greatest Love Story Ever Written. It was actually Charlotte Brontë's second novel, but the first to be published, her earlier effort being “The Professor” which did not appear in print until much later.One of the most passionate novels of all time, it was regarded as revolutionary on its publication due to its heroine's conscious awakening, her thoughts and feelings becoming the focus of the narrative.Jane is morally conservative, but the book deals with more radical notions including sexuality, religion and proto-feminism due to the nature of her fierce spiritual outlook, which is consistently at its core, driving the novel's questioning and searching tone.Finding love and attaining happiness with the Byronic Mr Rochester is the crux of the tale, and there is a fair amount of hand- wringing heartbreak along the way.
Ever since I read Wuthering Heights during my senior year of high school, I’ve had a fascination with the moors. (And, okay, maybe Heathcliff, too.) Is it any wonder, then, that said fascination would translate to the current British countryside style trend sweeping the … well, not the moors, but the fashion world? (Jamie Allison Sanders)
So, when the latest trailer for Emerald Fennell’s Wuthering Heights was released to the soundtrack of Charli XCX, you would think that my natural inclination for era crossing would be satisfied? Truthfully, I’m not entirely sure.You see, as much as I enjoyed watching A Knight’s Tale inject a modernised soundtrack into a medieval tale, I can’t say it added much artistic edge. It was simply an easy trope to ignite entertainment and an elementary level of joy. Ultimately, I think there is a similar argument to be made in the case of Fennell’s upcoming project.She has dialled the sexuality of this Victorian love story up to ten and has enlisted the voice of modern pop culture to do so. While you may say the same can be said for Bridgerton, which regularly used string quartet adaptations of chart hits, I would argue that the project did so to open the doors of accessibility to what has traditionally been a very secular genre. (...)Wuthering Heights, however, feels more obnoxious in its approach. It’s playing to a gallery of viewers obsessed with highlight reels, soundbites, not songs, and not to thought-out artistic crossovers that they can quickly label “iconic”. I don’t genuinely see what purpose is served to Charli XCX, an artist who has perennially pushed traditions in pursuit of sonic innovation, by juxtaposing her music with a salacious and misrepresented tale of Victorian romance. (Callum MacHattie)
In another scene, you can spot Kat reading "The Brontës: Three Great Novels," a compilation of three of the Brontë sisters' most famous works: "Jane Eyre," "Wuthering Heights," and "The Tenant of Wildfell Hall." (Gabbi Shaw)
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Pierce Brosnan’s Bond still feels like a classy elder statesman of action stories, while Timothy Dalton represented a kind of Byronic take on Bond, the sort of Bond that our moms loved because he felt like a brooding hero out of a Brontë novel. (Dalton’s Heathcliffe in the 1970 Wuthering Heights remains unmatched.) (Ryan Britt)
A little harsh. Bella’s self-abasing devotion is hardly new. “You can have my soul. I don’t want it without you – it’s yours already,” she tells Edward, like an overwritten Cathy talking to Heathcliff. The titles New Moon and Eclipse describe Bella’s total darkness with Edward gone. It’s not far from Jane Eyre on that monster Rochester: “He stood between me and every thought of religion, as an eclipse intervenes between man and the broad sun.”
El cómic está pintado a mano con témpera sobre papel y evoca la época victoriana, pero con colores rojos, malvas y verdes, que son los que dominan en el paisaje que la autora vio en su viaje en solitario al pueblo de Haworth, en el condado de Yorkshire, donde residían las hermanas.Para dibujar a Anna, Spucches se basó en retratos reales, en concreto uno realizado a mano el 17 de abril de 1833, cuando tenía 13 años.Con la obra, la ilustradora quiere transmitir al lector su pasión por el mundo de las hermanas Brontë, “poniendo una piedrita y adelantando a la hermana menor” y contando, además, la hermandad entre ellas y su amor al arte, a la naturaleza y a los derechos de la mujer. (Begoña Fernández) (Translation)
¿Qué libro, película, serie, disco y obra de arte salvaría en un diluvio o un incendio?Cumbres Borrascosas, de Emily Brontë; Ben-Hur, de William Wyler; The Wall, de Pink Floyd; y Saturno devorando a su hijo, de Goya. (Translation)
Ce soir, l’émission est consacrée à la façon dont les classiques ont influencé les lecteurs et les auteurs. Quel est votre « classique » préféré ?Les Hauts de Hurlevent, d’Emily Brontë, grand roman du XIXe siècle, à la lisière entre le romantisme et l’ère victorienne. Je l’ai lu une bonne dizaine de fois, car j’en ai fait le sujet de mes études. C’est, pour moi, ce qui se rapproche le plus d’un chef-d’oeuvre, et c’est la plus grande histoire d’amour de tous les temps. (Translation)
Charlotte Brontë’s Villette is often overshadowed by Jane Eyre and Wuthering Heights, but hidden inside its pages is a Victorian secret that shaped women’s lives in ways we rarely hear about.In this special Victober bonus video, I explore the world behind Villette, uncovering the real social pressures, the so-called ‘surplus women problem’, and the challenges faced by single women in Victorian Britain. From governesses and teachers to women who managed to carve out independent lives, this is the reality Charlotte Brontë was weaving into Lucy Snowe’s story.So was Villette simply fiction, or was Charlotte drawing from her own life and the world she knew so well? This video peels back the layers to show how deeply personal and socially revealing the novel really is.
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