Artículo 14 (Spain) presents the latest installment of the La Ciudad de las Damas podcast where The writer Espido Freire talks about Wuthering Heights, Emily Brontë and the romantic nightmare:
Hay novelas que envejecen con dignidad y otras que no envejecen en absoluto: permanecen en un estado de intemperie perpetua, como si el tiempo no lograra domesticarlas. Cumbres borrascosas pertenece a esa segunda estirpe. Desde su publicación en 1847 —firmada por Ellis Bell, el seudónimo masculino de Emily Brontë—, el libro ha sido leído como romance, tragedia, alegoría gótica, relato de venganza y hasta como una herejía sentimental contra la moral victoriana. Su grandeza, sin embargo, no reside en la etiqueta que se le cuelgue, sino en el hecho de que ninguna le queda del todo bien. La novela se resiste a ser una sola cosa, y esa resistencia es parte de su poder. En el capítulo 11 de La Ciudad de las Damas, el podcast literario de Artículo 14, Espido Freire subraya precisamente esa condición incómoda: *Cumbres borrascosas* no es una historia de amor para consolar, sino una experiencia emocional extrema que obliga a mirar de frente la oscuridad del deseo. Lo que Emily Brontë escribe no busca idealizar la pasión, sino examinarla en su forma más obsesiva, destructiva y, a la vez, irresistiblemente humana. Pocas novelas han retratado con tal lucidez la frontera borrosa entre el amor y la posesión, entre el vínculo y el daño. (...) Quizá esa sea su grandeza: Cumbres borrascosas narra un amor que, precisamente por ser posible, asusta. Un amor sin pedagogía, sin final reparador, sin moral tranquilizadora. Una novela escrita con el lenguaje desbocado de la poesía y con el pulso implacable de quien comprende que hay afectos que no curan, solo persisten. En ese gesto —en esa negativa a endulzar— Emily Brontë inventó un clásico que no se deja domesticar. Y las Damas lo analizamos en el capítulo 11 junto a Espido Freire. (María Serrano) (Translation)
Also in Artículo 14, the novel is discussed by Jesús Palacios: Camille Paglia, en su monumental ensayo Sexual Personae, contrapone la naturaleza apolínea de Jane Eyre a la oscuramente dionisíaca de Cumbres borrascosas, contrastando a sus autoras y heroínas: la primera, una modélica dama victoriana que aprenderá a conquistar su posición en la sociedad y el corazón de su amado, desentrañando junto al lector el elemento misterioso e irracional del libro: la “loca en el ático”. La segunda, una virago cuyo género Paglia interpreta prácticamente como andrógino y cuya pasión aparentemente asexual por Heathcliff tiene algo de desdoblamiento íntimo de la propia Emily, quien parece proyectarse en su protagonista masculino, byroniano y diabólico, antes que en su heroína, Catherine. En cualquier caso, se trata de una inmersión sadiana “… llena de estallidos de violencia y de vívidas fantasías de muerte y de tortura. Presenciamos o escuchamos cómo se pega, se abofetea, se azota, se pellizca, se araña, se tira de los pelos, se da patadas, se pisotea…”. (Translation) “Shahrazad’s tales, stuffed with detail, unravelling, tumbling over each other, growing taller in the telling like the jinn who so often appear, are not minimalist,” Winterson observes. “Stories piled on stories. A bazaar of excess. Wealth beyond the reach of avarice. … More diamonds than stars. It’s an inventory of bling.” Just when she locks on a platitude, she spooks us with a reversal, a balletic leap, connecting “Nights” to “Jane Eyre,” say, or inserting an aside on the etymology of “escape,” digressions true to the spirit of “Nights.” (Hamilton Cain) She traces her interest in the dark side of women’s lives back to two of her biggest influences: Daphne du Maurier and Charlotte Brontë. “Rebecca was one of my earliest inspirations, which I’ve referenced in multiple books of mine,” she says. “Rebecca and Jane Eyre were the original domestic thrillers, before they were even a thing.” Whether any of McFadden’s books will achieve similar classic status is a question for future readers. (Sarah Ditum) May websites repeat or republish previously reported information about Wuthering Heights 2026 or Charli XCX's new Wuthering Heights songs: Los 40, Just Jared, El Ukelele, Vogue Singapore, Far Out Magazine, NME, Mindies, El Confidencial, eCartelera, El Pueblo, Libreriamo, Comingsoon, Grazia, Moviemag, Woman's World...
Cinesa (Spain) has a promotion where they're giving away Wuthering Heights 2026 bookmarks to viewers on the opening weekend who have purchased their ticket online.
An online alert from the Brontë Birthplace:
19/01/2026 6:30 PM - 8:00 PM
Hyperemesis Gravidarum is medical terminology for the excessive vomiting of early pregnancy. There is a commonly held belief that Charlotte Nicholls (née Brontë) suffered from hyperemesis gravidarum; however, is this merely a myth, a story, a false idea or is it true, a reality, and an accurate description of her tragic, final illness and untimely death? Charlotte’s official death certificate of 1855 showed that the disease Phthisis, also known as consumption or tuberculosis, was the cause of her death. Yet modern Brontë commentators claim that Charlotte died from excessive vomiting of pregnancy / hyperemesis gravidarum. Charlotte wrote in Jane Eyre (1847), “I cannot proceed without some investigation into what has been asserted, and evidence of its truth or falsehood.” And so, on 19 January, 2026, the very same day a hundred and seventy-one years ago in 1855, when Charlotte wrote to Ellen Nussey explaining that, “… indigestion and continual faint sickness have been my portion …”
Join us via Zoom from the Brontë Birthplace, Thornton to hear esteemed retired Consultant Obstetrician & Gynaecologist Dr Michael O’Dowd present evidence both for and against the concept that Charlotte was affected by hyperemesis gravidarum.
Today, January 17th, marks Anne Brontë's 206th birthday. Radio Mitre (Argentina) or LitHub celebrate it. Charli XCX has offered “Wall of Sound,” the latest song from her upcoming album Wuthering Heights.
While its title suggests a massive onslaught of noise, “Wall of Sound” takes a more restrained and evocative route; backed almost entirely by strings, Charli pinpoints a fraught, heavy feeling brought on by desire. “Unbelievable tension/ Wall of sound/ Monolithic/ So I’m gonna stay still,” she narrates, later describing a war between “love and hatred,” between acting on her feelings and retreating. Meanwhile, the strings beneath her escalate and build with tension. Listen to the new track below.
“Wall of Sound” follows prior singles “Chains of Love” and “House” (feat. John Cale), the latter of which actually features something much closer to a “wall of sound” compared to the new track. All three songs will appear on Wuthering Heights, Charli’s new companion album to Emerald Fennell’s upcoming film adaptation. Both the album and film will arrive on February 13th. We also named Wuthering Heights one of the Most Anticipated Pop Albums of 2026. (Paolo Ragusa)  After some rather underwhelming key art for Emerald (Saltburn) Fennell's upcoming adaptation of Bronte's cult-lit classic, Wuthering Heights, the character posters come through with a cold and tactile pair of character posters. I have highlighted Margot Robbie's Catherine Earnshaw here for the layers of gauze and fog and sky.
As she walks along the Yorkshire Moors in an elaborate wedding dress, she surrounded by the hazy mists; her train uplifted by the languid morning air. You can see the hills in different shades in the background, further framing her form. It is grim and cold. Against the angst and the passion of a potential coupling, this is about as a succinct an image as one might get for the story. Robbie, of course, has just the right poise here.
The title card is framed by the director's credit and release date. (I suppose you could classify this as a teaser poster, given the lack of main credit block, even as the film is releasing in a couple of weeks, and several other posters and key art have been released).
Given it's UK setting, one wonders why there is not a QUAD style poster released (point me to it if you know of one) given the horizontal framing and lines here. (Kurt Halfyard) A contributor to Vogue claims that her 'Love for Wuthering Heights Is Why I Also Love Terrible Men'. Wuthering Heights tells us that love should hurt. Actually, it should burn. Lacerating your heart and excavating your soul, it will, in the words of Emily Brontë herself, drive you mad. Fans of the 19th-century classic were reminded of this when the first full-length trailer for Emerald Fennell’s highly contentious but much-anticipated adaptation, which stars Margot Robbie and Jacob Elordi, came out in the fall.
The trailer depicts Cathy (Robbie) and Heathcliff (Elordi) meeting as children before becoming embroiled in what it describes as “the greatest love story of all time.” While it’s not clear how far Fennell has strayed from the 1847 novel—the film has raised eyebrows among literary types who’ve pointed out that Heathcliff is described as “dark-skinned” in the book, while Cathy wears a shiny red dress, among other things in the film—it’s set to be a major cinematic event, with original songs by Charli XCX and a Valentine’s Day release date. Make no mistake: Wuthering Heights—which focuses on the intense bond that develops between Cathy and Heathcliff and the subsequent devastation that occurs when social mobility prevents them from being together—is a heart-wrenching tale, one that offers up meaningful commentary on everything from class and revenge to generational trauma. For me, though, it has always been about one thing and one thing only, and that’s Heathcliff, a.k.a. literature’s original fuckboy. Brooding, handsome, and troubled beyond repair, he epitomizes everything straight women are supposed to run from, and yet tend to run towards. I do, at least. Unfortunately, I’ve got a long history of fancying terrible men. The highly functioning alcoholics who pledge sobriety after an argument, only to get hammered a week later? Tick. The self-destructive avoidants who are addicted to you one minute and repulsed the next? Tick. The tormented artists who haven’t discovered bed frames and trade on empty promises and incessant love-bombing? Tick, tick, and then a few more ticks.
I blame all of this on Brontë—partly because it’s more convenient than analyzing my own self-destructive patterns, but mostly because I remain convinced that the precedent for chasing toxic love stories was one set out for me as a teenager, by Heathcliff. To be clear, in the book he is a truly abominable character. This is a man who not only speaks in growls and terrorizes children, but who also hangs dogs and beats women (character traits that we should all skip when it comes to dating prospects, obviously).
And yet he is often upheld as a romantic antihero, which I suspect has something to do with the fact that two of the most popular Wuthering Heights adaptations (William Wyler’s 1939 classic starring Laurence Olivier and Andrea Arnold’s stark but stunning 2011 version) conclude with Cathy’s death, neatly glossing over the second half of the book, which sees Heathcliff going full sociopathic mode. For me, though, the allure of Heathcliff was always less about the man himself than what he, and his relationship with Cathy, represented: a love so deep and destabilizing that it could hardly exist. Given they are—spoiler!—never actually together, their dynamic is defined by absence, possibility, and longing, which are arguably the most romantic things of all. Their love never becomes a reality, confining it to the realm of fantasy, where everyone and everything feels so much better because you made it all up inside your head.
This is the trap I’ve fallen into many times, creating my own epic Cathy-and-Heathcliff love stories with men who couldn’t be less interested in me. There was the boy at school who, in my mind, was stringing me along for years, but in reality just never wanted to be with me. The filmmaker who told me quite clearly that he “didn’t want anything serious,” which I took as a challenge to change his mind. And several others I won’t mention to save a little face. There’s also something about Cathy and Heathcliff’s relationship being rooted in childhood that holds a certain amount of appeal. They know each other so well. They grew up together. They have history. After yet another disappointing experience with a man, I often find myself craving the comforts of familiarity, returning to exes I’ve romanticized and convincing myself that someone I dated two years ago was actually the one for me.
It makes sense why I—and others like me, I’m sure—might be craving Brontë’s maddening breed of passion. I can’t tell you how many mediocre dates I’ve been on recently, swapping the same insipid stories about siblings and pets, hoping for a sudden spark of excitement and settling for it not being a complete disaster. The bar is absurdly low; these men will get a round of applause for texting us back or booking a restaurant. Where are the ones who’ll cry for us on the moors and dig up our graves? They might not be healthy, but at least they’re interesting.
I know in reality that nobody should conflate drama with romance. We all know that real love is supposed to be quiet, stable, and safe, and that it also probably shouldn’t extend into the afterlife—least of all with a raging psychopath. But when dating feels so relentlessly and desperately dire, can you blame the toxic girlies for occasionally wanting something a little spicier? If not to inject a little energy into our dating pursuits, then to give us something a little more compelling to talk about in the group chat?
With this in mind, I personally cannot wait to watch Fennell’s Wuthering Heights. I’ll admit, as a dedicated fan of the book, I was skeptical at first. But now I no longer care about accuracy. Give me madness on the moors. Snogs in a storm. And the kind of love story that will ruin my life. It’s probably a little wiser to experience it on screen than off, anyway. (Olivia Petter)
The Telegraph and Argus joins in the trend of looking back on what was happening in 2016 and of course one of the highlights of that year was Charlotte Brontë's bicentenary. The Brontë Society unveiled a packed programme to mark the 200th anniversary of the birth of Charlotte Brontë. (Natasha Meek) Still about adaptations, Express lists Jane Eyre 2006 as one of 'Seven 'masterpiece' series based on bestselling books streaming free on BBC iPlayer'. Jane Eyre
Widely regarded as one of the greatest novels of all time, Charlotte Brontë’s Jane Eyre was an instant bestseller upon its release in 1847. Over the years, Brontë’s beloved work has been adapted for the small screen countless times, including the acclaimed 2006 miniseries of the same name.
The series follows the early life of Jane (Ruth Wilson), who is hired by the housekeeper of Thornfield Hall, Mrs. Fairfax, to be a governess at the country estate. But when she becomes entangled with the brooding master of Thornfield Hall, Edward Fairfax Rochester, his dark past threatens to destroy their relationship. The four-part period drama has a perfect rating on Rotten Tomatoes and has been hailed a "true masterpiece". (Jennie Buzaglo) The Eyre Guide wonders 'What if… Jane had received Uncle John’s letter?'
A new chance to see Guiem Soldevila perform the themes from his Brontë album:
Sala Multifuncional des Mercadal. Avinguda del Metge Camps, s/n 07740 18.01.2026 20:00
Les germanes Brontë, per mèrits propis, ocupen un lloc destacat en la literatura de parla anglesa. Les seves novel·les van revolucionar la narrativa a l'Anglaterra del segle XIX i van transformar els límits d'expressió permesos per a les autores de l'època. La present obra musical, del músic i cantant Guiem Soldevila, ens brinda un viatge fascinant al cor de la poesia de les tres germanes, conformant una experiència literària i musical única i inoblidable.
Guiem Soldevila: veu, guitarres, piano i sintetitzador Clara Gorrias: veu i flauta Neus Ferri: veu Lluís Gener: contrabaix Pau Cardona: violoncel Elena Armenteros: arpa Andreu Marquès: bateria i percussions Gêliah: dansa Pep Eroles: duduk Carme Cloquells: narració Sonorització: Edu Sound Llums: Marc Bagur
Variety features the film's collaboration with Bloomingdale's. “Wuthering Heights” plans on seducing you into theaters this Valentine’s Day.
Ahead of Emereld Fennell’s highly anticipated adaptation of Emily Brontë’s classic novel, Warner Bros. has teamed up with Bloomingdale’s on multiple luxury collections inspired by Margot Robbie and Jacob Elordi’s on-screen romance. A little gothic foreplay, if you will.
In addition to limited-edition collections, Bloomingdale’s has launched a sweeping retail activation tied to the partnership. Running from Jan. 15 to Feb. 22, the department store’s iconic 59th Street Carousel will be transformed into a moody, immersive shopping destination. The physical space leans fully into the fantasy. Stylized elements referencing the moors, period architecture and the interiors of “Wuthering Heights” and Thrushcross Grange are woven throughout the Carousel as scenic backdrops and display fixtures. Dramatic window installations and multi-sensory design elements extend the experience beyond the shop floor. Pop-up versions of the activation will also roll out in select Bloomingdale’s locations including SoHo, Aventura, Century City, Sherman Oaks and Roosevelt Field from Jan. 15–22. (Anna Tingley)
Vogue lists the '13 Stylish Films To Watch Before Wuthering Heights, According To Emerald Fennell' based on the film programme Emerald Fennell has curated for the BFI. Vogue has also announced 'the Vogue Book Club—and Our Timely First Selection'. From the ubiquity of BookTok to the popularity of IRL reading retreats and the rise of the going-out book, reading has never felt more social, and the upcoming release of Wuthering Heights—Emerald Fennell’s starry adaptation of the classic 1847 novel by Emily Brontë—presents the perfect opportunity for Vogue to get in on the fun.
To that end, we’re announcing the launch of the Vogue Book Club—your new go-to source for Gothic literary gossip.
To participate, head to the Vogue app today (January 15) and tomorrow (January 16) and on January 22, January 29, and February 5 to weigh in on the latest group-chat prompt inspired by a WH–themed story on Vogue.com. (Our focus will chiefly be the book, not the upcoming movie—but your thoughts on the Margot Robbie and Jacob Elordi of it all are certainly welcome.) The conversations will culminate in a special live event in early February; more details to come. And after Wuthering Heights, stay tuned for the Vogue Book Club’s next read; we’ll aim to cover four books over the course of the year. (Emma Specter) Express and others have one of their regular reminders on the existence of Wycoller and its Jane Eyre connection. The Jane Eyre Guide wonders, 'What if… Jane never left Gateshead?'
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