A tortured soul who's never fully understood by the people around him

Screen Rant tries to foresee what it may mean for Jacob Elordi to be Heathcliff on the big screen after the current success of Frankenstein.

Following Frankenstein, Jacob Elordi will reunite with Saltburn director Emerald Fennell for Wuthering Heights, a subversive take on Emily Brontë's romantic novel of the same name. But ever since the first trailer for Wuthering Heights was released, the project has come under fire for its casting decisions and production choices.

While it's generally believed to be ambiguous in the source text, it's suggested in Wuthering Heights that Heathcliffe [sic] is a person of color. This understandably caused some backlash when Elordi was cast in the role, not just for reasons of diversity but also because of the subtle, profound ways Heathcliffe's race and identity define his character in the book.

It's going to be risky for Elordi to jump from such an acclaimed performance in Frankenstein to a role that could easily backfire for him. We've already seen how talented he is as an actor, and how compelling he can be in the right role, but there's a chance that Wuthering Heights will simply feel like a repeat of Frankenstein.

The attributes that Elordi brings to Frankenstein's monster (compassion, repressed anger, isolation) are the very same traits that make Heathcliffe such a fascinating character in Wuthering Heights. He's not a traditional romantic hero, but somebody that's been outcast from society and whose personal experiences manifest in his relationships with others.

Heathcliffe is a tortured soul who's never fully understood by the people around him, and that's exactly what Elordi brings to the creature in Frankenstein. This should dispel many audiences' concerns that he "doesn't fit" the character, but it could equally stunt the versatile, transformative streak that Elordi is currently on. (Jack Walters)

Coincidentally, a contributor to The Concord Bridge makes the following suggestion:

Seize the day, and pull out your copies of “Wuthering Heights” and “Frankenstein” to read and compare against old and new adaptations, then go to the movies with your young adult. Both of these Gothic romances feature Jacob Elordi, playing Heathcliff in one, and the Monster in the other. I’m betting on the latter as the one to see because Guillermo del Toro is a genius director, but Heathcliff’s — and Elordi’s — appeal should never be underestimated. (Fiona Stevenson)

Mental Floss reads the Brontë sisters' relationship just so in order to be able to include it on a list of '7 Notorious Sibling Rivalries Throughout History'.

Charlotte, Emily, and Anne Brontë were a trio of preternaturally talented sisters now known as the authors of some of the most influential literature of the 19th century.  The siblings were born to a working class, deeply religious family in Victorian England and each published under male pseudonyms as Currer, Ellis, and Acton Bell (these pen names let them maintain their actual initials). Despite their later immortalization in the literary canon, the sisters’ first publication, a collection of poetry they’d written together, hardly attracted any attention at all; it sold just a few copies. 

Yet just a year later, each sister would see the publication of their first novels: Charlotte’s Jane Eyre, Emily’s Wuthering Heights, and Anne’s Agnes Gray (sic). Emily and Anne’s work each received comparatively modest critical and commercial success. But Charlotte’s Jane Eyre was a sensation, making her something of a literary darling while bringing the young author considerable wealth and acclaim. 

Despite her own success, Charlotte publicly criticized the subject matter and morals of Wuthering Heights, citing its dark subject matter and the experimental nature of the novel. As Charlotte critiqued the moral fiber of her sister Emily’s work, she largely dismissed Anne’s, often supporting its publication but not providing her youngest sister’s work with any serious praise. 

Following the death of Emily in 1848 and Anne in 1849, Charlotte overtook management of her sisters’ literary estates, where she continued to downplay Anne’s talents as a writer and regarded Emily’s work with both admiration and dismissal. Though Charlotte could be prone to regarding her sisters’ work with a sometimes harsh critical eye, her maintenance of their estate and continued support of their work’s publication helped cement her younger sisters as some of the most influential writers of their time. (Colin Scanlon)

Express recommends watching Frances O'Connor's Emily. And Express also describes Haworth as 'The beautiful tiny UK village with cobbled streets that's best to visit before Christmas'.