Trill Magazine discusses Wuthering Heights as 'A Predecessor to BookTok’s Dark Romance Obsession'. Wuthering Heights is “right” in the sense of phenomenal writing, but also because it’s wrong in all the right ways. Brontë does not shy away from physical and mental abuse. However, the book treats these issues with the respect they rightfully deserve. Brontë paints a portrait of generational trauma, oppression, and passion-inflicted violence that stands out from many other books of her generation. Even today, the book’s approach to “dark romance” remains uniquely nuanced. For lovers of gothic literature or romanticism, Wuthering Heights also contains the best of both worlds. Tragedy is at the heart of Wuthering Heights, with the question of “what could have been” constantly at the back of the reader’s mind. We follow two troublesome kids, Cathy and Heathcliff, as they develop a sweet juvenile romance. But due to a combination of external coercion and inner conflicts, an invisible barrier begins to form between them. Ultimately, their love is intense and corrosive; it allows their humanity to shine through while simultaneously catalyzing each character’s self-destruction. Many popular dark romance tropes today trace back to Wuthering Heights, but the book subverts them in surprising ways as well. To start out, while Emily Brontë didn’t invent forbidden love, she certainly helped redefine what it could mean. While the foundational work of forbidden love, Romeo and Juliet, focuses on the mutual conflict between two aristocratic families, Wuthering Heights is built on class conflict and racial discrimination. But the book doesn’t use them as side pieces; it dives deep into how such issues shapes each character, and how that in turn perpetuates a cycle of abuse. Forced proximity, obsession, and enemies-to-lovers are also popular modern-day tropes you can find in this 19th century novel. And you can be sure that Brontë doesn’t shy away from giving heavier topics their due diligence. You’ll find yourself screaming at the characters for making all the wrong choices, but at the same time, you know perfectly why they would make that decision. That all makes it an excruciating read—but an excruciatingly good one. So at the end of the day, we’re left with one question: Why read dark romance at all? Why can’t we just be satisfied with romance, and why are so many of us drawn to the darker side that fiction provides? The same thing applies to consuming tragedy, horror, and similar genres. They’re not feel-good material, but something about them fascinates us regardless. I propose that it all has to do with catharsis—referring to the release of strong or repressed emotions. Originally, the term was popularized by Aristotle to explain how tragic stories heal the mind by allowing us to experience emotional purging without having to go through actual tragedies. In dark romance, a similar process applies. Most readers trudge through the psychological turmoil because they expect that at the end, the “romance” part of “dark romance” promises a strong emotional payoff. Moreover, dark romance also draws to mind issues that are usually not present in the mainstream. Such issues usually tie into domestic spheres; thus, writers and consumers are more likely to brush them aside. But the dynamics that underlie romance also reflect bigger problems laced within our society. Dark romance, particularly those written with literary sensibilities, often directly address these issues and seeks to bring these hidden depths to the surface. As with all cultural phenomena, a trend often originates from a convention-breaking product that shocks, intrigues, and captures. For a genre that’s constantly “trending” throughout different time periods, it’s interesting to see where it all started. (Nea Le)
According to WhatCulture, the trailer for Wuthering Heights 2026 is one of '10 Recently Released MUST SEE Movie Trailers'.
Vogue has selected ' The 23 Moments That Defined Fashion in 2025' and here's one of them: Margot Robbie’s Contentious Wuthering Heights Wedding Dress Speaking of clothing items setting the internet ablaze, online film and fashion buffs certainly had lots to say when the first images of Margot Robbie in Emerald Fennell’s upcoming Wuthering Heights adaptation hit our newsfeeds. Is it the right time period? Is the cleavage too revealing? Should the character even be in a wedding gown, given that the story takes place before they even came into fashion? The film will debut on Valentine’s Day next year—expect more discourse then. (José Criales-Unzueta)
Heading up the list is the Keighley & Worth Valley Railway, the five-mile line which has attracted visitors from across the world for decades. Next is another global tourist draw, the Bronte Parsonage Museum at Haworth. [...] Bronte Waterfall comes in at five, with Top Withens – reputedly the inspiration for the setting of Emily Bronte's Wuthering Heights – sixth. (Alistair Shand)
Parade matches your birth date to a literary woman. Born on the 4th, 13th, 22nd, and 31st — Charlotte Brontë Charlotte Brontë is known for her novel Jane Eyre, mirroring the disciplined, resilient nature of these birth dates. Aligned with the vibration of 4, these individuals are the architects of their own reality, known for pragmatic focus and concentrated efforts. Similarly, Brontë carried a deep commitment to integrity and strong personal ethics. (MaKayla McRae)
According to Bored Panda, Charlotte Brontë is also one of '50 Examples Of Women Who Are Overlooked In History'.
An amateur production of the Gordon & Caird Jane Eyre musical opens today, December 2, in London: Trinity Laban Musical Theatre presents: Music and Lyrics by Paul Gordon Book and additional Lyrics by John Caird December 2 - 6 Trinity Laban Conservatoire of Music and Dance, King Charles Court, Old Royal Naval College, London
Charlotte Brontë’s classic gothic romance is brought to life onstage in a musical adaptation. We follow the independent, passionate governess Jane Eyre, through her harsh childhood after being left as an orphan to an uncaring aunt, through her employment as a governess at Thornfield Hall. There, she meets the mysterious and magnetic Edward Fairfax Rochester, master of the house and warden of her pupil. Though drawn to each other, they are haunted by the ghosts of Mr. Rochester’s past, which threaten any possibilities of a future of love or happiness for either. This Tony Award-nominated musical features a grand, sweeping score that transports the audience to a world of wild, ungovernable passion on the moors.
USA Today has the scoop on the 'Most popular dog and cat names based on book characters'. Would you name your dog after the brooding, vengeance-seeking Heathcliff from “Wuthering Heights”? [...] Top bookish dog names trending in 2025 [...] 7. Heathcliff (tie): From “Wuthering Heights,” up 81% (Clare Mulroy)
A new Wuthering Heights production is currently being performed in Darmstadt, Germany:
by Emily Brontë Adapted by Thomas Birkmeier Directed by Anna Bergman Set design by Sabine Mäder. Costume design by Lane Schäfer. Choreography by Stefan Richter. Dance choreography by Nira Priore Nouak. Music/Composition by Heiko Schnurpel. Chorus master: Daniel Bengü. Video by Andreas Deinert. Dramaturgy by Carlotta Huys.
November 28 December 6,12, 20, 31 January 9, 14, 30 March 15 April 10 Staatstheater Darmstadt, Staatstheater Darmstadt, 64283 Darmstadt, Germany
The bond between Catherine, the daughter of a landowner, and her adopted brother Heathcliff, a foundling from the slums of Liverpool, is characterized by profound understanding and longing. However, when Catherine decides to marry the wealthy Edgar Linton to escape the squalid conditions at their shared home, Wuthering Heights, Heathcliff is so deeply hurt that he leaves the area. The loss of her beloved foster brother and closest confidant plunges Catherine into a deep crisis. But even with Heathcliff's return, now a rich young man, Catherine cannot bring herself to turn her back on Edgar, and so begins a maelstrom of revenge and dependency that destroys two families across generations. "Wuthering Heights," Emily Brontë's only novel, is now considered a classic of English literature. In this complex family saga centered on the anti-hero Heathcliff, violence and anger dominate. "Wuthering Heights" is essentially the anti-"Romeo and Juliet": The love between Cathy and Heathcliff is not a tragic, innocent, and ideal one that endures against all odds until death and transcends the boundaries of origin, but rather a love bordering on obsession and marked by rage. In her production, director Anna Bergmann explores these abysses of the human soul, which are made visible through Heathcliff, and searches for their origins – including in societal structures.
Im ersten Teil fügt sich Bergmann widerspruchslos in dieses laute Pathos. Wir sehen in einem Vorgriff Heathcliff an Catherines Grab selbige verfluchen, ihren Geist als Hologramm hereinschweben. Wir sehen grimmige Riesenköpfe mit Sensen eine freudlose viktorianische Welt markieren, aus der es kein Entkommen gibt, begleitet von der drohenden Elster. Nebel und Regen verdüstern den Raum, einzelne Figuren performen Popsongs, aber in Moll. Sie sind archaisch gekleidet, ihre Gesichter weiß geschminkt, ihre Endkonsonanten gleichermaßen feucht betont – nur bei Emily Klinge als flatterhafter Catherine kommt bisweilen rebellisches Charisma zum Vorschein. Die opernhaft humorlose Wucht ist unerträglich, aber auch effektvoll. Nach der 38-minütigen Pause leuchtet dann sofort ein, warum sie so lang war, dann ist nämlich alles anders. Bergmann hat ihre große Stärke ausgepackt: den ästhetischen Totalbruch, aufgehängt an dem Plotpoint, dass Jahre vergangen sind und Heathcliff wohlhabend und zivilisierter nach Wuthering Heights zurückkehrt. In Darmstadt erfährt die Figur außerdem eine orlandoeske Geschlechter- und Zeitenwandlung: Flora Udochi Egbonu hat die Brustplatte abgelegt, die Haare aufgemacht und ein kurzes giftgelbes Kleid angezogen. Heathcliff ist jetzt eine sexy Rächerin mit Peitsche und singt keck "The Kill" von den Dresden Dolls. Auch alle anderen haben mindestens ein Jahrhundert gut gemacht. Ein zweistöckiges Haus fährt aus dem Bühnenboden, es gibt farbige Latexkostüme und hochgestylte Frisuren, komödiantisch koordinierte Catfights und Kotzorgien, und die Dienstbot:innen der Anwesen Hintleys und Edgars telefonieren einander very British Weisheiten durch. Das zuvor vorbildlich statische Ensemble wechselt die Spielweise und führt den Text nun genüsslich als campy 80er-Jahre-B-Movie mit einer Prise Pollesch vor. Der Sinn dieser stilistischen Gegenüberstellung darf natürlich in Frage gestellt werden. Muss er aber nicht. Denn so macht diese "Sturmhöhe" richtig Spaß. Glück gehabt. (Martin Thomas Pesl) (Translation)
We agree mostly with what Country Life has to say about Wuthering Heights 2026: I get it. Really, I do. Literature imprints upon my heart as much as the next person. I am an author after all, and a romantic one at that. I am prone to attaching myself to lines from poetry or prose in ways that sometimes make me believe they are speaking directly to me. I have even been tempted to tattoo them onto my skin, a permanent etching as if that might mean more, that I might be able to absorb them entirely. And yet, I cannot bring myself to really believe that Emily Brontë, an exceptional woman who took huge, beautiful risks in her work, would really be turning over in her grave at the very idea of Jacob Elordi tightening breathless Barbie’s corset. (...) I do not think that any of us are able to accurately guess what Brontë’s reaction might be to any of the many adaptations of her work. However, I do wonder whether she might have been just a little excited by what contemporary female artists are now making of her work and what women are now allowed to conceive and create. Perhaps she might even be delighted that her story was still being consumed by new audiences, generation after generation falling for new Heathcliffs and new Cathys while the moors remain the same — wild, barren, hostile places within which dark and all-consuming love stories still take place. I cannot bring myself to feel too concerned that younger audiences may see this film and consider it the definitive Wuthering Heights (although I highly doubt that will be the case). (...) Whether you agree with her or not on her casting choices, this much is true: it is all art. When Brontë wrote Wuthering Heights, I would be surprised if she viewed it as a sacred text designed to be preserved forever. When an artist puts work out into the world they release it. It no longer belongs to them; not really. You cannot manage the way people hear your words, view your images or listen to your songs. You cannot control their emotions or correct them. You create, you perfect — and then you let it go to take on new meaning. If you’re lucky it resonates not just with one person, but with many over generations; perhaps even a century and a half later you will still inspire people to make something new. And maybe you wouldn’t like it, but it’s all art, and nothing is sacred. May we always be surprised, shocked, appalled and bewildered by art. I hope we’re having this conversation again in another 100 years and another 100 after that. Wuthering Heights is ours, Fennell’s and of course, Charli XCX’s to do with what we please and if some people don’t like it, the original is waiting untouched for them to return to, anytime they like. (Laura Kay)
Many other websites still repeat the same yadda-yadda about Wuthering Heights 2026: Vanidad, L'Officiel, Startefacts, TV Central, Hola, Tuttotek... The Yorkshire Post goes to Lothersdale: "The remote Yorkshire village which inspired Charlotte Brontë" While working as a governess for some “unmanageable cubs” in 1839, Charlotte Brontë lived in Lothersdale at Stone Gappe. Her employer, the then owner of the three-storey five bay property south of Stansfield Brow which dates to 1725, Charlotte’s is said to have resembled her character Edward Rochester in Jane Eyre. (Stuart Minting)
Also in The Yorkshire Post, an inspiring story with some connection to the Brontës that you may not know: So too undiscovered stories of charity when I was researching the Brontës for what for me must be the highlight of the year to welcome the Queen to open the Brontë birthplace in Thornton saved for the nation and now celebrated as the humble beginnings of greatness. Who would have thought when I penned the phrase Be More Brontë to encourage the same resolute determination in young people that three budding writers had shown that Camilla would be the first person to write those words within it’s walls? Giving from others bought it for future generations but also brought stories of giving during the Brontë sisters lifetimes to the fore. For example, did you know that the ruined farmhouse at Top Withins that inspired Emily Brontë’s Wuthering Heights was actually a part of charitable giving in its own right even before the three sisters and their brother roamed the moors? Money from it’s rent fed and clothed poor children. And now in modern day it forms the centre piece for Wuthering Heights day when charities benefit from the recreation of Kate Bush’s famous dance on the birthday she shares with Emily Brontë and is celebrated each year on July 30th. Add to that the fact that Patrick’s Brontë’s first major curacy at St Peter’s Church in Hartshead, just a few days before Christmas, handed out thick wooden fabric to the women to sew warm clothes for their children particularly during the luddite uprisings when cottage weavers were losing their homes and their livelihood and you will see why charity was a centre piece of giving as much then as now. (Christa Aykroyd)
The Brontës may feel mythic now, but artifacts like this demonstrate that behind every great work is a human life that once held fear, hope, pain, and passion. (Emily Chan) Contrasting my previous picks is “Jane Eyre,” a classic by Charlotte Brontë that has sat on my shelf for three years and I have attempted to read twice (third time’s the charm?). Jane Eyre tells the story of its namesake in first-person, beginning with Jane’s abusive childhood and staying with her throughout her education and early adult life. I picked this one up again and found that I had a much better grasp on the language and concept of the book, and decided to try it once more. (Beatrice Cosgrove) Gramilano interviews the opera singer Ekaterina Bakanova:
What is your favourite film? Jane Eyre and Inception.
Espido Freire, in the radio show Cuerpos Especiales (Europa FM, Spain), analyses the song Tu Cuerpo en Braille by Nil Moliner: Espido Freire está feliz con el tema que le ha tocado esta semana en Cuerpos especiales. La escritora se ha puesto romántica al analizar Tu cuerpo en braille de Nil Moliner, una canción a la que encuentra bastantes paralelismos con Cumbres Borrascosas de Emilie (sic) Brönte. El protagonista musical es el primo hermano de Heathcliff. "Los dos se quedaron traumatizados en la misma noche de tormenta", ha explicado. (Translation)
Keighley News reports the top 10 Keighley-area attractions according to Tripadvisor which incldude the Brontë Parsonage Museum, the Brontë waterfall, Top Withens and Haworth Parish Church. More Recent Articles
|
%20(1).jpg)
%20(1).jpg)
