According to Koimoi, Wuthering Heights 2026 has ended its theatrical run in North America. Wuthering Heights succumbs under the pressure of new releases and ends its theatrical run at the box office in North America after over a month [sic: nearly two months]. The film ended its theatrical run on its 8th Thursday as it lost its last few theatres in North America. The film is being played in a few markets overseas. [...] According to trade analyst Luiz Fernando‘s report, Wuthering Heights has concluded its box office journey at the North American box office. It grossed just 8k on its 8th and final Thursday over the last 58 theaters still playing it. The film’s domestic total reached $84 million, bringing its theatrical run to an end. Wuthering Heights is concluding its box-office run as 2026’s 6th-highest-grossing film domestically. The period drama starring Margot Robbie and Jacob Elordi collected $156.4 million at the overseas box office. It is still running in a few overseas markets. Allied to the $84 million domestic cume, the movie’s worldwide collection stands at $240.4 million. It will end its global run below the $250 million milestone. It is still the 5th-highest-grossing film of 2026 and the highest-grossing romance drama of the year. [...] Box office summary Domestic – $84.0 million International – $156.4 million Worldwide – $240.4 million (Esita Mallik)
The Aggie has 'Another ‘ Wuthering Heights’ think piece', mainly made up of things that have been said and quoted many times already. Times of India reports that the film's 'skin room' has gone 'viral'.
A contributor to El Mundo says about the questions she asks: Una pregunta propia de una página encrespada de Dostoyevski, de una maraña concebida por la más espesa de las Brontë. (Elisa Victoria) (Translation)
A new Brontë-related scholarly paper just published: Kristianne Kalata Studies in the Novel, Johns Hopkins University Press, Volume 58, Number 1, Spring 2026
This essay reads Charlotte Brontë’s Shirley(1849) through the lens of queer narrative theory, positioning Brontë’s work as formative in developing the concept of the androgynous mind that was coined by S.T. Coleridge in Table Talk(1835) and deliberated upon by Virginia Woolf in A Room of One’s Own(1929). Through moments of hypothetical focalization, the novel disrupts gendered identities and social expectations, suggesting its author’s conscious efforts to occupy the androgynous mind and to consider the limits and possibilities of its application to embodied behaviors. Anticipating Woolf’s frustration over the limits of androgynous thinking in a society that values gendered embodiment, Brontë experiments with narration in ways that underscore the distinction between social and self-perceptions of gender, a distinction that plays out not only at the levels of author, narrator, and character, but also in past and present readers’ reviews of the text.
BBC Culture picks 'Eight of the best films of 2026 so far' and the list includes 4. Wuthering Heights Emerald Fennell's fearless reinvention of Emily Brontë's 1847 novel is not for Brontë purists, but it is an exhilarating take on the book and a striking example of Fennell's typical artistry and daring. Margot Robbie and Jacob Elordi are fiery as Cathy and Heathcliff, the classic lovers made for each other but separated by class. Their connection is at once frankly sexual, romantic and caustic in the cruelty they often display toward each other. With that cruelty, Fennell restores the vehemence often overlooked in Brontë adaptations. Departing from prettified period pieces, the film's visual style is an enticing kaleidoscope of colour and fashion. Fennell drops in some comic moments, and at times dares to be over the top (Heathcliff on horseback, Elordi's bad wig flying in the wind) but its excesses are a small price to pay for such ambition. However much Fennell toys with the details – and why not? the book still exists – she captures the essential enduring passion of Wuthering Heights and its class-bound time. (Caryn James)
Men's Health has also selected 'The 25 Best Movies of 2026 So Far, ' and Wuthering Heights is there as well. The classic novel comes to life on the big screen once again, this time from Promising Young Woman and Saltburn director Emerald Fennell, and with Margot Robbie and Jacob Elordi in the lead roles. Fennell, an Academy Award winner for her work on Promising Young Woman, has both big fans and big detractors at this point—but her take her, while book purists haven't been thrilled, is a big, visually stunning epic romance. Robbie and Elordi are both up to the task as well, bringing a charged energy to roles that really need it. Alison Oliver, who recently shined on HBO's Task, is another major highlight in a supporting role. An original soundtrack from Charli XCX helps to set the anachronistic mood and feels like a real cherry on top. (Evan Romano) BBC News has a short clip on the wind farm planned for Brontë Country. The BBC also reports on the improvements made to a busy footpath in Haworth. Major improvements to a public footpath used by thousands of visitors every year have been completed in Haworth. The footpath, which links Weavers Hill car park with Main Street, had become uneven and hazardous but has now been tarmacked to provide a more accessible surface. Thousands of people visit Haworth every year from across the globe to walk in the footsteps of the Brontë sisters, who lived in the town in the early 19th Century. A Bradford Council spokesperson said: "This upgraded footpath strengthens an important link in the heart of Haworth, supporting a safer and more inclusive access for those who visit and enjoy this much-loved village." The path had become unsafe due to root damage from several trees, as well as debris and broken fencing that had started to encroach on to the path and the overhead trees, which were affected by Ash Dieback. Bradford Council removed the unsafe trees and collaborated with local allotment tenants and the tenant of the neighbouring paddock to clear the path's border creating a 5ft (1.5m) wide route. The work was paid for with money from the West Yorkshire Combined Authority's City Region Sustainable Transport Settlement. (Grace Wood)
Keighley News takes a stroll down memory lane by sharing the district’s last handloom weaver Timothy Feather's thoughts about the Brontë family. He was born in 1825 and for most of his life lived in a cottage at Buckley Green, near Stanbury. His loom was in the room upstairs, as it had more windows and he needed as much light as possible to see when weaving. It was also where he slept, and the bed end almost rested against the loom. He bought his own warp, carried it home over his shoulder and set it up on the loom by tying each warp thread on to those on the previous one. Once a new warp had been ‘gated’, he would then prepare the weft. This was bought in hanks, and he wound it onto pirns to go in his shuttles. One day a young man called Albert Kay, from Nelson in Lancashire, called at Timmy Feather’s cottage in Buckley Green. An account of his visit was subsequently reported in the Nelson Leader. Timmy was then in his 80s and as he was the last handloom weaver in the district, had become something of a celebrity. People often called and regularly asked to see his handloom and watch him weave. Albert was no exception and Timmy invited him upstairs to look at the loom. However, it was Sunday and being the Sabbath he said “I wod ’ave woven yer a bit of it had it bin a wark day but I ne’er weave at Sunday.” Returning downstairs Albert, no doubt disappointed, asked him if he remembered the Brontës. “Knew ’em all,” he replied. “I was baptised wi’ old Patrick. My mother used to tell me that when he splashed watter on my face I bawled like a cawf. Aye and I went to school in’t lane there beside churchyard and were taught wi’ Charlotte.” Asked what he thought about her, he said: “Well she was a little bit of a thing, about size o’ six penneth o’ copper. A teeny, little woman wi’ least hands that I’ve ever seen. And when it was said the parson’s Charlotte had written a printed book nobody believed it a first until fine folk in carriages came up cobbles in village street. “Aye and I knew Emily, but I never liked her. She were taller and darker than the others and she would pass yer in street and never look at yer, just as if you were a stone. I used to pass her on’t moor bottom when I was going to Haworth, but she never turned her head sideways. She always seemed to be thinking and muttering to hersel’. “Lass I liked best wer Anne, she allus had a smile and a word for a child or dog. But like ’em all she faded away. Did I know Branwell, ye ask? Aye, I’ve supped ale with him and John Brown in’t Black Bull, aye mony a time. He finished up wild, but everybody liked him. Last time I saw him in’t street his hair were flying and he looked demented. Poor Branwell – his was a wasted life. “Aye, I remember all to the last. I saw Charlotte that day when she came out to be wed in’t church, and she looked like a lily. I saw her carried out of t’old parsonage feet first not long after. And there weren’t many dry eyes in Haworth that day. “Last of all, I used to see old Patrick, lonely and desolate standing up in’t pulpit, while down below, lay his wife and five childer. It was a pathetic sight.” Old Timmy died at his cottage in 1910 and is buried in Haworth churchyard alongside the path that passes through it from the old school in Church Street. (Robin Longbottom)
A recent scholarly book with some Brontë-related content:
by Deborah Weiss Manchester University Press ISBN: 9781526175717 November 2024
Women and madness in the early Romantic novel returns madness to a central role in feminist literary criticism through an updated exploration of hysteria, melancholia, and love-madness in novels by Mary Wollstonecraft, Eliza Fenwick, Mary Hays, Maria Edgeworth, and Amelia Opie. This book argues that these early Romantic-period novelists revised medical and popular sentimental models for female madness that made inherent female weakness and the aberrant female body responsible for women's mental afflictions. The book explores how the more radical authors - Wollstonecraft, Fenwick and Hays - blamed men and patriarchal structures of control for their characters' hysteria and melancholia, while the more mainstream writers - Edgeworth and Opie - located causality in less gendered and less victimized accounts. Taken as a whole, the book makes a powerful case for focusing on women's mental health in eighteenth- and nineteenth- century literary criticism.
The book has a coda:Wide Sargasso Sea: The erasure of love-madness and the mad woman's revenge Yorkshire Live tells about the plans to restore Oakwell Hall, called Fieldhead in Charlotte Brontë's novel Shirley.Extensive repair works have been proposed for Oakwell Hall to remedy damage and ensure its longevity. The Grade-I Listed Elizabethan manor house, located to the northwest of Birstall, dates back to 1583 and is set in period gardens within a 110-acre country park. The hall was visited by Charlotte Brontë in the 1830s and was the inspiration behind 'Fieldhead' in her 1849 novel 'Shirley'. It is now a museum furnished as a family home of the 1690s which is owned and run by Kirklees Council. The local authority is seeking Listed Building Consent to carry out repairs to the fabric of the building to ensure it is fit to operate for years to come. The council has appointed AHR Building Consultancy to carry out the works that will “restore damaged and age-related issues” and ensure Oakwell Hall can remain open to the visiting public, according to a supporting statement. Several issues need to be addressed, including those regarding structural movement, water ingress and backlog maintenance issues primarily affecting the external fabric of the building. Some internal areas will also be impacted where either movement has affected the structure due to plumbing leaks, or wear and tear. As a result, works would include the removal of the existing roof to allow for the installation of a bat-friendly, modern breather membrane to shield the building from water ingress. The existing stone slate roof would then be re-laid, and gutters and down pipes replaced. Repairs would also be made to the external stone, existing lead glazing, and defective areas of the underground drainage system. A new, accessible toilet would be installed at ground floor level to the rear of the property, with its walls positioned to limit the impact on the existing historical structure. The existing first floor male and female toilets, which were a later addition, would be fully removed as part of the development. The supporting Design and Access Statement put together by AHR Building Consultancy says: “The proposals detailed in this statement have been developed to minimise the continuing deterioration of the building and to provide restorative repairs to ensure the upkeep of the building is retained. “Our proposals have been developed with a core aim to protect the existing building in character and appearance and with the aim of restorative repairs to the roof and external walls whilst also improving the facilities for visitors through the provision of an accessible toilet at ground floor level. “The works are confined to the building and will therefore have no impact on the wider building’s environment and external grounds.” A target date for a decision to be made was set for Wednesday, (April 8), though this is yet to be made, according to Kirklees’ planning portal. (Abigail Marlow)
A contributor to Her Campus writes about 'Why ‘ Wuthering Heights’ Still Haunts Us'.
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