Clara Magazine (Spain) talks about the books that read the characters of well-known novels: Bella Swan lee 'Cumbres borrascosas', de Emily Brontë La tímida e introvertida Bella Swan, protagonista de la saga Crepúsculo, fue vista leyendo 'Cumbres borrascosas'. La novela de Emily Brontë es un clásico de la literatura romántica, pero también una historia intensa, oscura y marcada por relaciones emocionales extremas. Justo lo que a ella le va a ocurrir en determinado momento con Edward. Bella no es una protagonista convencional: es introspectiva, emocional y profundamente entregada. Su conexión con 'Cumbres Borrascosas' refleja su tendencia a idealizar el amor absoluto, incluso cuando este implica sufrimiento o sacrificio. Al igual que Catherine, Bella está dispuesta a todo por ese vínculo que considera irrompible.
'Jane Eyre', de Charlotte Brontë Rachel Green lee 'Jane Eyre', de Charlotte Brontë La novela de Charlotte Brontë es un relato de independencia femenina. Jane es una mujer que lucha por construir su propia identidad, tomar decisiones por sí misma y no depender de las expectativas sociales o de los hombres que la rodean. Esto tiene un claro paralelismo con Rachel. Al inicio de la serie, depende completamente de su entorno -especialmente en lo económico y emocional-, pero poco a poco construye una carrera, toma decisiones propias y redefine quién quiere ser. (Melissa González) (Translation)
There’s Helen in The Tenant of Wildfell Hall by Anne Brontë, who flees her husband to protect their son from his drunken ways; (Harley Freeman)
On Thursday, July 9, the focus shifts to The Bookery, with Amelia Blackwell bringing a lively blend of literary history and mystery with The Haunting of a Brontë. In conversation with Devon crime writer Stephanie Austin, this promises an engaging evening of humour, intrigue and gothic atmosphere, inspired by the enduring fascination of the Brontë sisters.
Jane Eyre by Charlotte Brontë Literary observers have often connected Swift's song Mad Woman to themes found in Jane Eyre by Charlotte Brontë. The song's exploration of female anger, perception, and social judgment echoes ideas that appear throughout the classic novel. The connection becomes particularly striking through the character of Bertha Mason, the woman hidden away in Mr. Rochester's attic, whose story has long been discussed as a symbol of female suppression and misunderstood rage.
Movie-Locatons updates the film locations of Wuthering Heights 2026. North by Northwestern discusses adaptations and Wuthering Heights 2026 in particular:
Wuthering Heights is, possibly, a good movie. To some, I believe it can be an enjoyable movie. It was not for me. Still, the costuming is avant-garde and fun, the cinematography is breathtaking, and the performances are captivating—none of these things can be taken away from the film because some bits made the audience squirm. However, Wuthering Heights, as directed by Emerald Fennell, fails to be an effective adaptation. Before much promotion was released about the film, it drew considerable controversy when Jacob Elordi was cast as Heathcliff, a main character. This drew significant criticism, largely from those familiar with the original book, as Heathcliff is a person of color in Brontë’s book. No character ever says, point blank, “Heathcliff, I hate you because you are a person of color.” It’s demanded by the plot and by Brontë for the reader to be aware that the young ward’s dubious birth and lack of capital aren’t helped by him being described as “dark-skinned” or “as dark almost as if it came from the devil.” The prejudice he faces becomes the catalyst for the abuse inflicted on him. It’s why he becomes monstrous in character: he has had otherness forced upon him. (...) Wuthering Heights (2026) explores themes of desire, obsession, self-destruction and love—no one will deny that. But even with CharliXCX on the soundtrack, it’s a hollow figurine of the original novel. Brontë’s work has inspired dozens of adaptations and will surely inspire dozens more, but there is a reason why audience members continue to gravitate to that story. Emerald Fennell’s work will not go down in history as worthless; the costuming and overt sexuality will likely delegate it to the realm of camp. But it will not be considered an accurate reflection of the 1847 novel. (Isabe, Papp)
Con este último protagonizó en 1992 una de las adaptaciones más recordadas de 'Cumbres borrascosas', basada en la novela de Emily Brontë. Mucho antes de que la nueva versión protagonizada por Jacob Elordi y Margot Robbie despertara la curiosidad del público, Binoche y Fiennes dieron vida a Catherine Earnshaw y Heathcliff en una película que destacó por la intensidad en las emociones de sus protagonistas y por una química que traspasaba la pantalla. En una época en la que las adaptaciones literarias de gran presupuesto no eran tan habituales como lo son hoy, aquella producción sorprendió por la pasión de sus protagonistas y por una visión especialmente oscura y romántica de la obra. (Álvaro Alonso De La Fuente) (Translation)
Another example of AI junk using the Brontës as cheap out-of-copyright material:
by Alana Sanchez ISBN-13 : 979-8251483970 March 2026
The 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.
More on the plans for a windfarm on the Brontë country moors in BBC News: A consultation on plans to build a large wind farm on moorland associated with the Brontë sisters has fallen "well short of standard", Bradford Council has said. Calderdale Energy Park (CEP) wants to install 34 turbines on Walshaw Moor, between Hebden Bridge and Haworth. Although the site lies within Calderdale, councillors said the impact on neighbouring Bradford would be "significant". Developers say the scheme could generate enough low‑carbon electricity to power about 198,000 homes a year. In its response to CEP the council said it had effectively been consulted "on an abstract concept rather than a transparent, scientifically robust infrastructure design". The South Pennine moors and the Pennine Way are closely associated with writers Charlotte, Emily and Anne Brontë, who were raised at the Haworth parsonage, now a museum, in the 1840s. CEP originally proposed up to 65 turbines on the land near Haworth, reducing the number to 41 in April 2025 and then to 34 in February 2026 after saying it had listened to residents' concerns. The plans have faced opposition from campaigners, including Josh Fenton-Glynn, Labour MP for Calder Valley, who fear damage to peatland habitats and the loss of moorland used by bird species. Bradford Council said it had not been adequately involved in the consultation, raising concerns about both environmental information and engagement. It argued that key details remained unclear, including proposals for a cabling corridor that could pass through Bradford if the project goes ahead. Councillors also criticised what they described as flaws in the assessment of the "globally significant" Brontë cultural landscape, warning of potential impacts on tourism, biodiversity and historic villages. The authority added it had not been included in meetings or technical working groups linked to the environmental impact assessment. CEP has previously said the turbines would not deter visitors to the moors. A spokesperson said the company had followed all legal requirements and extended the consultation period to encourage engagement, adding it remained committed to "constructive and ongoing engagement" with the council and other stakeholders. (John Greenwood and Andrew Barton)
It may not deter visitors at first, but it would certainly and immediately alter their experiences of the place, which now feels timeless, and with giant turbines it would not. And then, perhaps slowly, people would stop looking at a landscape that no longer looks like the one that inspired the Brontës. It's that simple, although we know that longsightedness is not a common or interesting quality these days.
Still in Yorkshire, although in much more pleasant news, The Yorkshire Post features the current National Gallery: Art On Your Doorstep. “Instead of people coming to the National Gallery, the National Gallery is coming to the people and reminding them of their national collections because this is a public collection,” explains Dr Janine Sykes, Kirklees Council’s curator (Visual Arts). “Our gallery in Kirklees, the Huddersfield Art Gallery, closed in 2020 as part of a huge regeneration project, Our Cultural Heart, and won’t open until 2030, it is a whole generation without a gallery, so I responded to the National Gallery’s call-out. I immediately thought about Oakwell Hall because I know there are so many amazing stories and the history here – it is the oldest property in Kirklees Museums and Galleries.” To Janine’s delight, Oakwell Hall was selected as one of the destinations for the exhibition which has been curated to encapsulate links to the Bröntes (sic), through Caspar David Friedrich’s ‘Winter Landscape’ 1811, the hall and to Birstall, birthplace of the scientist and founder of Oxygen, Joseph Priestley. Interestingly, one of the paintings located here features the work of Joseph Wright’s ‘of Derby’ ‘An Experiment on a Bird in the Air Pump’ 1768 which, Janine explains, links perfectly with Priestley. “As we know Joseph Priestley discovered Oxygen and carbonated water and they knew each other through the Learned Society where they would meet to swap ideas on science, so it allows us to talk about the history of Birstall,” says Janine. “The Winter Landscape by Caspar David Friedrich was from the German Romantic Movement where nature was considered very powerful. All the Brönte [sic] siblings were artistic and their novels were all part of the literary British Romantic genre. I thought wouldn’t it be amazing to somehow link this place-based history to an exhibition with The National Gallery.” [...] “What is very distinct about ‘Art On Your Doorstep’ in Kirklees is I like people to hear different voices in interpretation. It reminds us that it is our collection and for us to enjoy, and it helps to raise awareness of the public collection.” Near the old railway bridge where trains once trundled along the Leeds New Line linking Birstall to Leeds and London before its closure during the Beeching era, is Joseph Mallord William Turner’s ‘Rain, Steam and Speed – The Great Western Railway’ 1844. Janine says it encourages viewers to imagine Birstall in the industrial era. “There was a lot of wealth here. When you look at Oakwell Hall it was connected to wealth. A lot of Charlotte Brontë’s friends were middle class from textiles and industry. The wider industrial connection was the railway. There was a lot of freight, whether textiles or coal, and it reminds us of the industrial past. [...] Special events planned over the summer include fun science sessions for children, a family art club and, on July 25, Janine and Programme Officer, Samuel Harrison from the Brönte (sic) Society & Brontë Parsonage Museum, will host a special tour. “There is something for everyone. Whether you are interested in engineering, there is the industrial past, there are national and global literary connections with the Bröntes (sic), there are some amazing role models. There are different stories and we are making it part of the paintings and about the place,” says Janine. (Sally Clifford)
 The first episode of the fourth season of the Behind the Glass podcast is already available:
Welcome to series 4 of the Brontë Parsonage Museum's podcast Behind The Glass!
For our first episode, Programme Officer Sam and Digital Engagement Officer Mia are joined by writer and scholar Deborah Lutz, to celebrate the publication of her new biography This Dark Night: The Life of Emily Brontë.
Listen in as Deborah tells us about her research process and trying to unpick some mysteries behind one of the greatest and fiercest writers...
The Herald does a roundup of recently-released books including This Dark Night: The Life of Emily Brontë, Deborah Lutz Bloomsbury, £20 The first comprehensive biography of Emily Brontë in over two decades, by an expert in Victorian literature. From its Proustian opening sentence, to her subject’s death bed at the age of 30, this is a captivating, feeling account of the most enigmatic of the Brontë family. By putting Emily and Wuthering Heights into a historical and political context and drawing closely on her writing, Deborah Lutz illuminates her intriguing personality and wildfire imagination. As Lutz tells us, it took Emily two years to write her masterpiece, and a further 100 for the world to begin to fathom it. That process continues with this biography. (Rosemary Goring)
MRC film chiefs Brye Adler and Jonathan Golfman mention Wuthering Heights 2026 in an interview for Variety. MRC has established itself as a champion of innovative filmmakers like Edgar Wright, Emerald Fennell and Chloe Domont. But the movies these auteurs deliver defy categorization and that presents its own challenges. “A lot of the movies we make don’t have a lot of obvious comps so they tend to be very difficult for the marketplace to properly evaluate,” admits Brye Adler, MRC’s co-president of film. “Something like ‘Wuthering Heights‘ is an R-rated period romantic drama, but describing it like that doesn’t reflect its potential to be distinctive, which is why it worked. Or you can’t put ‘Cruel Intentions’ and ‘The Talented Mr. Ripley in the same category, but that’s what ‘Saltburn’ is. The system does not compute what we make.” (Brent Lang)
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