The Telegraph and Argus reports that the Brontë Parsonage Museum is celebrating the 10th anniversary of To Walk Invisible. The Brontë Parsonage Museum has launched an exhibition marking the 10th anniversary of the BBC drama 'To Walk Invisible', which told the story of the Brontë sisters. Located at the Parsonage in Haworth the exhibition will run until December 31, 2026. It explores the making of the 2016 BBC drama, featuring costumes, props, set designs, and production notes. Mia Ferullo, digital engagement officer at the Brontë Parsonage Museum, said: "Over the past ten years To Walk Invisible has become a film cherished by many Brontë fans. "It offers an authentic, well-researched interpretation of the sisters and their lives. "We wanted to celebrate this anniversary by showcasing the creative team's process including a behind the scenes look at the screenplay, set design and costume design." The drama starred Finn Atkins as Charlotte Brontë, Charlie Murphy as Anne, Chloe Pirrie as Emily. Four original costumes designed by Tom Pye are on display in the museum’s period rooms, including a dress for each sister placed around the dining room table where they famously wrote their novels. An additional costume for Emily is exhibited in the kitchen. Ms Ferullo said: "In the dining room, we have Emily's lightning print dress, worn in the film by Chloe Pirrie. "There is a story that while shopping in Bradford, Emily had selected a material with a lightning print on it, sadly the original dress no longer exists. "The costume designer Tom Pye liked this anecdote and decided to recreate it for the film." She believes the costumes help visitors imagine the sisters as they once were. Ms Ferullo said: "I think displaying the costumes can help visitors visualise the family within the space, you can imagine the sisters walking around the dining room table discussing their writings. "The cast were all similar heights to the original Brontë family, so you also get an idea of the height difference between them." Other artefacts from the drama on display include bonnets, Branwell’s top hat, and his nightshirt. Visitors can also see a recreation of the "Gun Group Portrait" of the siblings, concept art by set designer Grant Montgomery, and a prototype model of the Parsonage set. Ms Ferullo talked about director Sally Wainwrights aim to present the Brontë family in a way they hadn't been portrayed previously. "She wanted to portray them as a real family, challenging some of the myths around them." She praised the production team’s dedication to authenticity, noting that Mr Montgomery measured every flagstone in the original Parsonage to ensure the replica set was as accurate as possible. It also sits alongside the museum’s ongoing exploration of Brontë screen adaptations. Props from Emerald Fennell’s forthcoming version of Wuthering Heights are already on display, and the museum has previously hosted exhibitions on cinematic interpretations of the Brontë family’s work from around the world. (Amelia Short)
Still in Yorkshire, Harrogate Informer features the work of designer jeweller Joanne Gowan. Based in her studio in Pateley Bridge, the local artisan has already spent several years developing a single, monumental piece. She intends for it to eventually earn that prized status of a family heirloom through what she describes as the slow process of thinking. Joanne Gowan: I had the idea to produce a Wuthering Heights piece about two years ago when I moved to North Yorkshire, celebrating the first connection I had with the area from reading the Brontë novels from the age of 10. This Emily Brontë piece sort of ate into my subconscious on so many levels: spiritual ideas, eternal love, passion, the wild of the landscape, and the contrast of good and evil, all wrapped into one. When Gowan joins a curated group of the UK’s top contemporary jewellers and silversmiths for the three-day Acquire selling show at Ampleforth Abbey, visitors will have a rare, exclusive opportunity to view her work-in-progress. The creative journey behind the piece spans from the rugged Yorkshire moors to the historic gemstone cutting centers of Germany. Joanne Gowan: Initially, I took some images from illustrations of Cathy in early book editions and contacted my gem dealer in York, R.M. Weare. They sourced a highly talented gemstone carver in Idar-Oberstein, Germany. The rock crystal carving then took over six months to develop, with lots of input back and forth during the cutting process. Meanwhile, I re-read the novel several more times to narrow down the exact elements I wanted to include. After that, a lot of the designing happens in my head. Over the months I get a clear mental vision, and then on the right day, I sit down and work it all out on paper. The final design is a complex vignette, or picture piece, engineered to be worn as a high-end brooch or pendant, or displayed standalone as a miniature work of art. It captures the haunting, pivotal moment when Cathy appears at the window—a scene that defines the emotional landscape of the entire novel. Framed within a window meticulously carved from soapstone, the structure mimics the box bed window of Ponden Hall near Haworth, widely believed to be Emily Brontë’s real-world inspiration for the scene. Joanne Gowan: Cathy, rendered in rock crystal, will appear to be coming through the leaded glass. The Ash tree leaves knock against the window, representing the moment when Nelly speaks to Heathcliff on the morning of Cathy’s death and he leans against the tree. In the foreground sill is a sprig of Yew with its toxic red berries, representing the bridge between mortal death, endurance, and the supernatural spirit. Alongside it sits a bunch of yellow crocuses—the earliest spring flowers brought to Cathy’s bedside by Edgar Linton, representing renewal and hope. This beautifully ties to the end of the novel, when the children of Cathy and Heathcliff reach an eventual mutual connection. The breath-taking final piece will be constructed from a rich palette of premium materials: rock crystal, soapstone, sterling silver, 18ct yellow and red gold, black rhodium plating, platinum, vivid rubies, and yellow sapphires. [...] The original design sketch and the German-carved rock crystal component will be publicly displayed for the first time at the Acquire event, where the finished masterpiece will be open for official commission. Event Details The design sketch and rock crystal carving will be on display at the annual Acquire exhibition, curated by Joanne Gowan. Venue: Alban House, Ampleforth Abbey estate, North York Moors, YO62 4EN Dates: Friday 18th to Sunday 20th September 2026 Opening Times: 10:00 AM – 5:00 PM daily Admission: Free entry to the exhibition. The daily specialist guest talks curated by Susan Rumfitt are ticketed.
EXCLUSIVE: Literary classics such as Wuthering Heights and Jane Eyre are getting the microdrama treatment. This is through the latest entrant into the microdrama field, LoveHit, an L.A.-based studio and app focused on originals based on classic literary adaptations. LoveHit, which launches this month, has a vertical video slate built entirely from classic novels in the public domain. At launch, this will comprise Wuthering Heights, Pride and Prejudice, Jane Eyre, The Great Gatsby and Beauty and the Beast. More are in post-production, including Dangerous Liaisons, The Scarlett Letter and Les Misérables. Each has been written, shot and edited as both a vertical series and a horizontial features, with the latter being readied for TV and streaming buyers worldwide attending MIPCOM on October 12-15 in Cannes. Series will last roughly 50 episodes running between one and three minutes, with the films at 90 minutes. Actors appearing in the titles include microdrama regulars Meg Bush, Tyler Harlow and Sophie Swiszcz, along film, television and stage stars. These include Academy Award nominee Eric Roberts, who appears in Jane Eyre, which stars Raina Silver and Tyler Harlow. Ethan Vaughan and Jean Evans will star in Wuthering Heights, which is relocated to a present day American ranch. A vertical cut of the show launched on the LoveHit app on August 27 ahead of the full launch. [...] “There isn’t a market in the world where these titles need much of an introduction,” said Lenny Levi, CEO of LoveHit. “Every generation has adapted them, and every generation finds its own reason to connect with them. That’s what makes them evergreen.” (Jesse Whittock)
Another AI retelling of Jane Eyre:
by Rose Angel Publishing AI and Bernardine Mitchell Publisher : Rose Angel Publishing September 6, 2026
England, 1852. After losing her family during Ireland's darkest years, Maeve O'Connell crosses the sea determined to build a life of her own. With her fiery copper hair, sharp mind, and unwavering spirit, she has spent years fighting against the prejudice that follows her wherever she goes. When she accepts a position as governess at the remote Blackwood Hall, she hopes only for independence and a fresh start. Instead, she finds herself drawn to the estate's enigmatic master, Alexander Blackwood—a man haunted by secrets he cannot escape and a legacy he cannot forget. As their friendship deepens into an unexpected romance, Maeve begins to uncover disturbing truths hidden within the walls of Blackwood Hall. Whispers of a long-dead wife, missing letters, locked rooms, and buried family scandals lead her toward a mystery that stretches far beyond England's moors and into the painful history of her own homeland. With powerful enemies determined to keep the past buried, Maeve must decide whether love is strong enough to survive the weight of history—or whether some secrets are destined to destroy everything they touch. Filled with windswept landscapes, forbidden love, family intrigue, and Gothic mystery, Jane Eyre of the Emerald Isle is a sweeping historical romance inspired by the timeless spirit of Jane Eyre and the enduring resilience of Ireland. TV Fanatic has a recap/review of Season 2, Episode 11 of The Librarians: The Next Chapter.
Finally, sharing a correspondence-based adventure with Anya via the Library’s copy of Charlotte Brontë’s Jane Eyre turned Vikram’s fear of always being alone and never belonging up to 11. (Diana Keng) The story of correspondence via Jane Eyre appeared in the previous episode, S02E10: And the Heart of a Librarian. Valencia Plaza (Spain) has an article on translating classic novels into Spanish and one of the novels mentioned is Jane Eyre. AnneBrontë.org features 'The Early Art Of The Brontës'.
A recent article on Wuthering Heights adaptations:
by Mariana Chajon Oliveros Pivot: Literary Journal, 11(1), 20-25 (2026)
Abstract This is a brief personal essay that critiques Emerald Fennell's adaptation of Wuthering Heights, provides a brief overview of the field of classic novel adaptation over the past thirty years and proposes questions that go outside of the well-known, “how do we create interest?”. In this essay, I consider what the future of film adaptation looks like, and how Hollywood can move towards capitalizing on universal aspects of classic novels, as well as how it can utilize modern systems of knowledge, such as psychology, critical race theory, sexuality and gender studies, to provide an added layer of meaning, or represent what goes unsaid in many works of classic literature. Fennell’s adaptation serves as a jumping-off point to assess the current challenges of literary adaptations, and the novel Wuthering Heights is used as an example for creative ideation.
À travers le destin d’Antoinette Cosway, personnage de Jane Eyre – dont les initiales, J. E., résonnent dans le titre –, Lilia Hassaine explore les mécanismes de l’effacement, de l’enfermement et de la reconquête de soi. En Jamaïque, en 1831, Antoinette Cosway s’éprend d’Edward Rochester, mais l’élan amoureux cède peu à peu la place à la domination et à la violence. Celle que l’histoire a reléguée au silence entreprend alors de reprendre possession de son propre récit. Harper’s Bazaar : Quel a été le point de départ de JE ? Lilia Hassaine : J’ai découvert Jane Eyre de Charlotte Brontë à l’adolescence. À l’époque, j’y ai lu exactement ce qu’on m’avait appris à y voir : l’histoire d’amour entre une jeune orpheline devenue gouvernante et le maître du manoir anglais où elle travaille. Mais au moment du mariage, elle découvre qu’une femme est séquestrée dans ce manoir et que cet homme est déjà marié avec celle-ci. Lui affirme que son épouse est folle, dangereuse, qu’il l’a enfermée pour son propre bien ; en somme, il se présente comme la véritable victime de l’histoire. Et puis je l’ai relu il y a deux ans, et je n’ai pas lu le même livre. Mon regard de lectrice s’était complètement déplacé. H.B. : Dans quel sens ? L.H. : Je me suis demandé ce qui avait changé pour que je ne voie plus que cette femme, au point qu’elle devienne une obsession. Elle occupe très peu de place dans Jane Eyre. Elle est décrite comme une créature sauvage, menaçante, avec des traits qui relèvent parfois d’une représentation profondément marquée par les préjugés raciaux de l’époque. À la relecture, de nombreux éléments m’ont mise mal à l’aise. J’ai eu envie de comprendre cette femme, de lui redonner une histoire. Qu’avait-elle vécu avant d’être réduite à cette figure monstrueuse ? Cela a fait naître une autre réflexion. Si mon regard avait changé, c’était sans doute parce que mes propres expériences avaient transformé ma manière de lire. Mais ce déplacement tenait aussi à quelque chose de plus collectif : l’époque elle-même avait changé, et avec elle les questions que nous posons aux textes. H.B. : Vous écrivez : “Cette œuvre ne fut pas l’œuvre d’un seul homme ; il faut toute une société pour rendre possible une telle entreprise.” Cette phrase semble entrer en écho avec des réalités très actuelles. Aviez-vous cette dimension contemporaine en tête dès le début de l’écriture, ou s’est-elle imposée progressivement ? L.H. : Lorsque j’ai écrit JE, les affaires Bruel ou Lyhanna n’avaient pas encore éclaté, mais cette question me révoltait déjà. Pour moi, les affaires Epstein et toutes les autres n’ont jamais été des cas isolés : elles révèlent un problème systémique, profondément sociétal. On les a longtemps réduites à des histoires d’intimité, au nom de la vie privée, comme si s’y intéresser relevait de l’intrusion. Or c’est à l’échelle de la société qu’il faut penser ces violences. Elles ne peuvent exister sans une forme de complicité collective : il y a ceux qui savaient, ceux qui se sont tus, ceux qui ont préféré regarder ailleurs. Aujourd’hui, nous comprenons mieux certains mécanismes de ces violences, mais il reste beaucoup à faire. (Florine Delcourt) (Translation)
Collider has ranked 'The 10 Saddest Books of All Time,' and Wuthering Heights makes it to #8. 8 'Wuthering Heights' (1847) Some people might try telling you that Wuthering Heights is a romantic novel, but sometimes, some people are wrong. There are feelings of longing and desire here, but the passionate stuff is also destructive, and Wuthering Heights is more focused on looking at the lingering effects of trauma, alongside exploring prejudice, class, inequality, and all sorts of other things that aren’t particularly romantic. There are some adaptations of Emily Brontë’s source material that lean into romance, or have things play out as a love story of a bittersweet nature, but in the book, there is not much love, traditional or otherwise. In its place, you do get a ton of sadness in Wuthering Heights, and it’s remarkable how much of that emotional devastation still packs a punch close to two centuries on from the novel’s publication. (Jeremy Urquhart)
A contributor to Her Campus suggests '10 Literary Halloween Costumes For The Book Lovers,' and one of them is 9. Jane Eyre from Jane Eyre For those who want their Halloween costume to look like it belongs in a moody period drama, say hello to Jane Eyre. Jane’s wardrobe is understated, which actually makes this a pretty easy costume to recreate. Look for a long black, gray, or dark-colored dress with a high neckline and simple silhouette. Add a book, a ribbon, or an old-fashioned-looking bag, and you’re ready to wander around Halloween parties looking like you’ve just escaped Thornfield Hall. (Danielle Okogho)
And finally, an article on 'Why the rise of Christianity is not what you think' in The Critic begins as follows: As I stood, packed into a sea of commuters, a man in full tweed, thick-rimmed glasses and freshly polished brogues stepped onto the tube/bus beside me and pulled out a battered, Penguin vintage paperback. It could have been a novel such as Jane Eyre, but instead he pulled out the Holy Bible. (Iona Lowe)
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