Best Original Song "House" from Wuthering Heights - written by Charli XCX, John Cale, Nathan Klein, Finn Keane | performed by Charli XCX, John Cale
The winners will be revealed on 10 October at the WSA Ceremony & Concert, held annually as part of Film Fest Gent.
The AI-induced numbness of humanity, and our lemming-ish behaviour blindly embracing the technolords' doomsday agenda, brings back the memory of the Luddites. The Conversation explains to you who they were: Brontë’s 1849 novel Shirley, set in the Yorkshire textile district in 1811-12, combined sympathy for the plight of the workers with a criticism of violence and a call for paternalism from the mill owners. (Brian Lewis)
Brontë Waterfall Station: Haworth Distance: 9km The Brontë sisters are legendary authors in British literature, and this two-hour route crosses the landscapes that inspired their work. From Haworth Station, climb the cobbled main street and cross the cemetery next to the Brontë Parsonage. Follow the signposted moorland track, reaching the falls and returning via the same path. (Eibhlis Gale-Coleman)
With a particular predilection for historical fiction, some of McGuirk’s early favorites were Laura Ingalls Wilder’s beloved Little House on the Prairie series, Charlotte Brontë’s timeless classic Jane Eyre and Louisa May Alcott’s Little Women, which she loved so much, “I read it every six months throughout my entire childhood.” (Tripp Whetsell) The best adaptations of Gothic novels, as ranked by IMDB, in Startefacts: 5. 'Wuthering Heights', 2011 IMDb Score: 6.0/10 Emily Brontë's Wuthering Heights has been adapted for the screen more than a dozen times. In Andrea Arnold's version we are only introduced to the first half of the original's plot. Yet the atmosphere of Brontë's England, with its misty, heather-covered moors, is captured to perfection. The film opens with Mr. Earnshaw returning from a journey. He has brought back a dark-skinned teenager, a runaway from a West Indies plantation whom he found on the streets of Liverpool. Earnshaw names the boy Heathcliff. No one welcomes the new arrival, and the boy himself has a rough, rebellious nature. He finds common ground only with Earnshaw's daughter, Catherine. (Julia Talakh)
YourStory lists "books that teach lessons from fictional characters". With an AI sloppy illustration and probably more: 4. Jane Eyre by Charlotte Brontë Jane Eyre follows the journey of Jane, an independent woman who struggles against hardship while searching for love, respect, and personal freedom. Jane’s character teaches the importance of self-respect and staying true to personal values. Despite facing rejection, loneliness, and difficult circumstances, she refuses to sacrifice her identity to gain acceptance. The novel shows that real strength comes from knowing your worth and choosing authenticity over pleasing others. Jane’s journey inspires readers to build confidence and trust their own voice. (Saniya Ahmad Khan)
Women and lace trim trend and its vintage vibes: From silky slip dresses to pantsuits, this lightweight, sheer fabric is the perfect option for battling the summer heat while living out your "Wuthering Heights"-inspired fantasy. (Charlene Teressa)
A recent Ph.D. thesis with Brontë-related content: by Pui Sang Chiu Advisor: Jan Schramm University of Cambridge July 2025
This thesis explores the ethical representation of negative affect in the novels of Charlotte Brontë, George Eliot and Thomas Hardy through a study of narrative. Previous scholarship regarded negative emotions in Victorian stories as a sublimated excess to the structure of sympathy. While recent criticism seeks to recuperate a political dimension to ugly feelings, the consensus remains that novels of the canon reject non-cathartic affect: they promote nobler passions at the expense of minor ones. My project challenges this assumption that negative feelings disable the production of major works. I argue that they are neither subservient to the imperative of sympathy, nor exceeding formal control and closure. Rather, their marginality to the didactic discourse spotlights their pervasiveness in the story spaces. Their compression by conventional endings formalises the lived experiences of the many, whose struggle for an ethical middle lies afield from the individual epic. Through the lens of an unsympathetic poetic, I map the site of ugly feelings by asking what does not feel right in the novel. The presentation of narrative compromise as a moral choice betrays a rupture between form and valence; it implicates the reading of moral necessities as a formal tyranny. This asymmetry between storytelling and value-making complicates realism’s claim to authenticity. An aesthetic of the ordinary elevates potentialities in the individual, by also delimiting them to a provincial context. In this framework, petty emotions do not merely serve the lesson of overcoming egoism. Felt by the protagonists and minor characters alike, those sub-moral reactions mark the threshold between heroism and the everyday. While the exemplary individual may triumph over the small social conditions, the common he represents stands in evaluative judgment of that transcendence. Ugliness as a collective standard resists the formative logic of the Bildungsroman. Subtending the complexities of quotidian life, then, is a constellation of the “neighbourly”; an interpersonal horizon occupying the middle distance between fellowship and detachment. With the three canonical realist novelists, I analyse the compounded nexus between narrative and affective discontent. In Jane Eyre and Villette, I study a passive-aggressiveness in Brontë’s first-person narration. The narrator’s withholding displaces personal meanings from the vicinity of story. As local outbreaks of aggression reveal the boundary of interiority, an emotional intent becomes deflected from the content of expression. For Eliot, I read the affect of blame in conjunction with endings as a mechanism of judgment. From Adam Bede and The Mill on the Floss to Middlemarch, the closural impulse towards a retributive justice increasingly yields to a dynamic of lateral distribution. The novel’s capacity for moral deliberation produces negative states of deferral and compromise. Like the first two authors, Hardy registers the torsion between the general and particular and the tonal instability it creates. Together, Far from the Madding Crowd and Tess of the d’Urbervilles articulate a dialectic of irony and sincerity, which Jude the Obscure unravels. In embracing lateness, Hardy’s final novel also signals the end of a minor ethics in negative affect.
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.
Here's how Harper's Bazaar describes Gabbriette and Matty Healy’s wedding pictures: 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)
Every Emily Brontë novel being just the one.
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). Some contributors to The Conversation discuss 'How rewilding could help stop the spread of Britain’s wildfires' quoting from Jane Eyre along the way. 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.
Tomorrow, August 6, is finally the day. Jane Eyre Convention premieres at the Edinburgh Fringe 2026:
A production of Theatre Caddis Writer: Eleanor Zeal Director: Danielle Arkwright With Eleanor Zeal, Rachel Overd, Georgia Harris and Ben Everett Rile 6th - 28th (not 10th and 18th) August at 12.25pm Just The Snifter Room at Just The Tonic at The Mash House, venue number 288
At the world's first ever Jane Eyre Convention, slightly neurotic aficionados gather to reenact their favourite novel. They squabble and fight over the best bits, correct interpretation etc. Real emotions are experienced as they follow Jane on her journey, including running wailing across the moors. They also attempt to rescue shackled Bertha in the attic. Finally they gain new insights and generally feel better. Show contains unrealistic violence, bonnets and minimal raunch. It may be mildly therapeutic and audience participation is optional. Double Fringe First winners.
Smithsonian Magazine looks back on the history of the beach read: Indeed, Blanche Willis Howard’s immensely popular first novel, One Summer (1875), exemplified the archetype. Set in a community on the Maine coast, Howard’s enemies-to-friends novel tells the story of a spirited and independent young woman who coolly rebuffs the attentions of a young man after an awkward rainy-evening encounter. (He mistakes her for a maid.) By the summer’s end, they meet again in Bar Harbor, where she at last admits her love for him and the two become engaged. As ephemeral as the season they celebrated, many summer novels were popular (or at least advertised) for just a few months. One Summer, though, appeared in successive printings or illustrated gift editions well into the next century. In 1876, a year after its first publication, Publishers Weekly asked booksellers to identify their most saleable novels. One Summer ranked below Dinah Mulock Craik’s phenomenally popular John Halifax (1856) and Charlotte Brontë’s Jane Eyre (1847) but ahead of Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852). (Donna Harrington-Lueker)
Is the literary quality of romance fiction uniformly good? No, of course not. In any massive, varied genre, you are going to find some clunkers — but that is not unique to romance. A more serious critique is that some of these stories romanticize, and maybe encourage, toxic behavior. You could point to the sadism and obsessiveness of Christian Grey, from E.L. James’s “Fifty Shades of Grey”; the abduction and sexual assault in Kathleen E. Woodiwiss’s “The Flame and the Flower”; or even the deceptiveness and amorality of the hero in the romance-adjacent classic “Jane Eyre.” (Christine Larson) Not to offend romance novel readers, but Jane Eyre is so much more than a love story.
This production succeeds not only as an historical drama, but also as a surprisingly funny and deeply human portrait of the siblings as they find their voices in a world determined to silence them. The design is striking in its simplicity. Costumes (by Clare Dewell) are minimal, yet cleverly used to distinguish each character, allowing the audience to focus on the performances rather than elaborate period detail. The set (by Nicola Webb) is similarly understated, but it never feels empty, instead drawing the audience into the Brontës’ world through imaginative staging. Particularly effective are the towering doors that instantly transport us into the intimidating atmosphere of London society. Projections added authenticity by using images taken from the real Brontë home although, while a thoughtful touch, perhaps were too high quality to preserve the period feel. Lighting (by Bruce Williams) is precise throughout, especially during split-stage scenes unfolding multiple locations and conversations simultaneously, and shifting seamlessly with each moment’s emotional tone, from the warmth of family intimacy to the harsher glare of public scrutiny. Sara Benbow’s musical arrangements deserve special mention, particularly her use of haunting choral pieces to connect scenes, creating a distinctly Victorian atmosphere. They also remind us that the Brontë sisters were talented musicians as well as writers. As we’ve come to expect from the Sinodun Players, the acting is particularly strong. Charlotte (Natalie Davies) dominates the stage and carries much of the performance with remarkable energy. Her portrayal combines witty comic timing with a raw emotional honesty that makes her feel completely real. Holly Smithson’s Emily is equally compelling, capturing powerful emotions with intensity while also embodying the understanding and lovable sister at the heart of the family. Anne (Sorrel Gibson) brings a touching innocence to the piece, offering a poignant insight into the experience of being a woman in the Victorian era and the way her more famous siblings overshadowed her. The three main actors bring a strong chemistry to the sisters and their interactions feel natural and established. The ensemble (Heather Banyard, Donna Thomson, Will Lidbetter, Dan Beauchamp, Martha Bullock and Alex Watts) transform into a variety of characters through subtle changes in voice and body language, and their reactions to the Brontës’ novels vividly convey the prejudice faced by women writers of the period, with Dan Beauchamp’s George sharply capturing the entitlement and attitudes of a Victorian gentleman. Dorothy Hirsch deserves enormous credit for the inventiveness of the staging. Moments such as the carriage ride, with ensemble members physically moving the wheels, are wonderfully theatrical, and having the sisters writing their novels in chalk on the stage floor is visually striking. Small details, like servants quietly cleaning up a smashed glass after a lively outburst, add a layer of realism that immerses the audience fully in the Victorian world. This is an imaginative production that sheds fresh light on the Brontë sisters and their creative lives. Thoughtful, funny and emotionally rich, Underdog: The Other Other Brontë never allows the audience a moment of boredom and leaves us with a renewed appreciation for the extraordinary women behind some of English literature’s greatest novels. (Lizzie Pannett)
Still on stage, WhatsOnStage includes London's forthcoming Jane Eyre. The Musical as one of its 'picks of theatre to see this August 2026'.
A contributor to New University wonders 'Why can’t Hollywood win with adaptations?' “Wuthering Heights” took the opposite bet. Fennell even put the title in scare quotes — a warning that this was her version, not Emily Brontë’s. She amped up the sexuality, modernized the soundtrack with Charli XCX, and cast Jacob Elordi, a white Australian actor, as Heathcliff — a character Brontë explicitly describes as dark-skinned. The reviews split almost down the middle: 57% positive on Rotten Tomatoes and a 55 on Metacritic. Critics argued the film flattened a story about class and racial exclusion into glossy, decontextualized romance. Yet “Wuthering Heights” made $241.7 million worldwide against an $80 million budget. Creative risk didn’t work with the critics, but the discourse fed the box office. Put both side by side and the pattern becomes clear. Faithfulness and riskiness were never the real tests. What’s being measured is whether an adaptation matches the version each viewer has carried privately for years: a childhood memory, a favorite scene, one detail that mattered the first time. No writer’s room can adapt nostalgia. Audiences aren’t asking for the original story back. They are asking for a feeling. (Meghna Srikumar)
The Star highlights 'The magical places you must explore in Derbyshire and Peak District this summer' such as 45. Hathersage Hathersage has strong literary connections - having inspired Charlotte Brontë while she was writing Jane Eyre. The nearby North Lees Hall (pictured here) also became the main inspiration for Thornfield Hall. The Grave of Little John, Robin Hood’s second-in-command, can be found at St. Michael’s Church in the heart of Hathersage. While there is little evidence proving he is buried here, ballads suggest that he originated from Hathersage and settled there again later in his life. (Tom Hardwick)
More Recent Articles
|
