PureWow lists '11 Novels that Will Define the Summer' and one of them is 4. The Chateau on Sunset by Natasha Lester Release date: June 2 Read if you liked: Eligible by Curtis Sittenfeld It’s been a while since I lost sleep over a book that was not a mystery—and Natasha Lester’s glamorous retelling of Jane Eyre did it for me. Lester’s novel transports us to the sparkling world of Hollywood and the most famous hotel on the Sunset Strip. Aria Jones has spent her entire life being invisible in the Chateau Marmont. But when a brooding rockstar buys the hotel she calls home, Aria quickly finds that what she thought she wanted is anything but. (Marissa Wu)
Emerald Fennel's [sic] Wuthering Heights is divisive at best, with its radical reinterpretation of Emily Brontë's classic, but no one can deny the sizzling chemistry between its two leads. Margot Robbie and Jacob Elordi as the ill-fated Catherine and Heathcliff raised eyebrows, as the romance between the two took a steamy, intimate turn, ultimately ending in tragedy for everyone around them. Wuthering Heights got backlash for turning Cathy and Heathcliff's destructive dynamic into something romantic, and there were concerns about casting all-white characters, particularly Heathcliff, who had been described as a dark-skinned man. Even so, Wuthering Heights had hearts racing, and thankfully, there are several more great steamy romantic titles to choose from to recreate that feeling. (Fawzia Khan)
An alert from the Brontë Parsonage Museum:
Fri 15 May, 5:30pm Brontë Parsonage Museum
Join us to look closely at a series of drawings and prints by British Modernist Edna Clarke Hall (1877-1979), whose obsession with Emily Brontë’s Wuthering Heights inspired her for decades. Art historian Eliza Goodpasture will bring these works to life in the context of early twentieth-century British art, as well as the artist’s own life. She yearned for the passion she found in Brontë’s novel, which was always missing from her own Victorian marriage. Working with both expressive watercolours and printmaking techniques, she made hundreds of works inspired by Wuthering Heights, some of which are now in the Parsonage’s collection.
Eliza Goodpasture is an art historian and writer. She is currently a Research Fellow at the Ashmolean Museum, Oxford. She holds a PhD from the University of York.
Looper recommends '5 Movies To Watch If You Like 2026's Wuthering Heights'. A somewhat divergent take on the Emily Brontë classic, Emerald Fennell's "Wuthering Heights" mixes soapy, anachronistic plot elements into the novel's brew of class issues, generational trauma and forbidden, star-crossed love. The story of rich girl Cathy Earnshaw (Margot Robbie) and Heathcliff (Jacob Elordi), the foundling boy her father brings home one day, has been told many times before — but never quite in this florid manner. It's not restrained, and it's anything but civilized — but it is a lush visual feast laden with passion that will liven up an afternoon. If you loved this take on "Wuthering Heights," then you're probably going to be intrigued by other frankly-written stories about anachronistic historical heroines, or erotic tales of frustrated love. This list of five films contain heartbreaking tales of lovers who are felled by miscommunication, stubbornness, bad luck and other forms of havoc which ruin — and sometimes resurrect — their sublime faith in togetherness. Whether true love has its say or not, these five films will definitely appeal to anyone who had a good time watching "Wuthering Heights.' Jane Eyre "Jane Eyre" and "Wuthering Heights" are both beloved books that have multiple movie adaptations — 47 versions of the former exist to the latter's 30. The 2011 big-screen version of "Jane Eyre" will appeal to people who loved the 2026 edition of "Wuthering Heights" because it knows how to ratchet up the melodrama while leaving you invested in the impossible love story between Jane (Mia Wasikowska) and Edward Rochester (Michael Fassbender, in one of his best movies). It's more serious and certainly more genteel than "Wuthering," but no less intense for that sense of reserve. The film follows Jane as she becomes a governess at Thornfield Hall, located deep in the moorland. She is an orphan whose cruel childhood has formed her into a woman of staunch but caring character. Yet she's unprepared for the secrets that Edward harbors, even as she begins to fall in love with him. Ultimately, she must have the courage to run from Edward's vagaries — even if it means shedding their fragile new bond. (Melissa Lemieux)
Comic Book Resources claims that, despite its success on streaming, Wuthering Heights 2026 'Is Far From Jacob Elordi's Best Role'. HBO Max has become the Jacob Elordi channel, first with Euphoria and now with the success of Wuthering Heights. The controversial adaptation of Emily Brontë’s seminal novel was met with division. The period piece was such a wild departure from the book that it could hardly be called an adaptation at all. While Wuthering Heights is admittedly climbing the streaming charts, that doesn’t necessarily mean it is the best example of Elordi’s work. Already an Oscar nominee, the actor is one to watch. Sadly, his best role to date was one that passed many viewers by in Sofia Coppola’s A24 film, Priscilla. (Carolyn Jenkins)
We had two readings from books (I suppose we had a slight literary theme for our wedding). I read from the final chapter of Jane Eyre, which begins with the famous line “Reader, I married him. A quiet wedding we had, he and I, the parson and the clerk, were alone present.” (Deirdre McArdle)
A Korean paper exploring Jane Eyre:
Xiaoyan Dong The Yeats Journal of Korea (한국 예이츠 저널) Vol.79 (2026.04) pp.33-50
This paper examines Jane Eyre, A Streetcar Named Desire, and Mrs. Dalloway as primary texts for a comparative study of female identity under structural oppression. Situating each heroine within her distinct historical context—Victorian England, the mid-twentieth-century American South, and early twentieth-century Britain—the analysis traces how Jane Eyre, Blanche DuBois, and Clarissa Dalloway navigate the intersecting pressures of social institutions, economic dependency, and family structures. Drawing on Michel Foucault’s theory of disciplinary power and Judith Butler’s concept of gender performativity, the study identifies three distinct modes through which patriarchal power operates: visible coercion, internalized discipline, and total erasure. It then examines the forms of self-alienation these modes produce and the corresponding strategies of resistance each woman develops within her structural constraints. By bringing these three figures into sustained parallel analysis, female identity under patriarchy emerges not as a single story of victimhood but as a differentiated spectrum of entrapment and agency, yielding a more precise understanding of how women negotiate and reconstruct selfhood under systemic oppression.
Located in Thornton, its official opening was marked by a visit from HM Queen Camilla as part of a Royal Visit. During her time at the house, Her Majesty met with committee members and volunteers, signed the guestbook, and unveiled a commemorative plaque. In celebration of the anniversary, a new exhibition will open on Friday, May 15, featuring a framed piece of wallpaper dating back to 1890 discovered during the property’s restoration. Anna Gibson, general manager, said: "We have had the most incredible first year at the Brontë Birthplace and have invited people from across the world to see this very special place. "From a forgotten house on a village street, it has now become an internationally renowned literary centre protecting the Brontës’ legacy and inspiring generations to come." The birthplace has attracted national and international media attention over the past year, with features in The Times, The Telegraph, and on BBC One’s The One Show. A range of events have also taken place, including a standout performance by internationally acclaimed musician Guiem Soldevila and his group, who set 12 Brontë poems to music. The house has hosted two artists in residence: Chicago-born Garrett Wild and digital artist Sam Sharp. Committee member Chris Raine also delivered a talk about the Brontë Birthplace in Japan. Other notable speakers have included Ann Dinsdale, principal curator at the Brontë Parsonage; author Sharon Wright; writer and illustrator Dr Eleanor Houghton; Helen MacEwan of the Brussels Brontë Group; Dr Michael O’Dowd from the Banagher Brontë Group; and storyteller Irene Lofthouse. Literary fans have had the chance to own a piece of history, with original beams from the house offered for sale. The sale is helping to boost income for the house. Siblings Charlotte, Branwell, Emily and Anne Brontë were all born at the house on Market Street. The building was acquired through the combined support of more than 700 individual investors and funding from Bradford City of Culture 2025, the Community Ownership Fund, the National Lottery Heritage Fund, and the Rural England Prosperity Fund. It is now managed by Brontë Birthplace Limited, a Community Benefit Society. (Harry Williams)
MovieWeb reports that Greenland 2 has dethroned Wuthering Heights 2026 as the most popular movie on HBO Max. Ever since it landed on HBO Max, Margot Robbie's newest R-Rated hit has been a streaming sensation. However, as the saying goes, all good things must come to an end, and this past weekend, the film fell victim to a new post-apocalyptic arrival that quickly knocked Robbie's spicy smash down a peg. Today, it's down another rung on the ladder thanks to another movie that ties directly into HBO Max's latest success. Taking in $242 million at the box office earlier this year, Robbie's Wuthering Heights is a loose adaptation of Emily Brontë's 1847 novel of the same name. Also starring Jacob Elordi, the film follows the intense and destructive bond between Catherine Earnshaw and the orphaned Heathcliff. Featuring way more heat than Brontë ever could have imagined, the film was a big hit with audiences, earning a 76% on Rotten Tomatoes. Critics were more unforgiving of the darker interpretation of the classic story, rating it just 57%. Added to HBO Max on May 1, Wuthering Heights found continued success on streaming following its box office run. The Gothic romance held the #1 spot in the Top 10 in the United States for nearly two weeks, and still sits in first place on the global charts. That being said, its stranglehold on the North American list finally came to an end this past weekend thanks to none other than Gerard Butler. (James Melzer)
According to Mashable, 'TikTok is using Charli XCX's ' House' better than " Wuthering Heights"'. The track, which opens Charli XCX's Wuthering Heights album, pulses with a sense of growing dread, building from isolated, creaking strings to a blazing crescendo. (A "Wall of Sound," if you will.) To listen to it is to feel the same sense of confinement and madness present in Emily Brontë's novel. While I had my worries about Emerald Fennell's "Wuthering Heights" going into the theater, I was still excited to see how she deployed "House." Mere minutes into the movie, I got my answer, and I was underwhelmed. "House" plays during the opening minutes of "Wuthering Heights," in which young Cathy and Nelly (Charlotte Mellington and Vy Nguyen) attend a frenzied hanging, then tear across the moors back to Wuthering Heights. The song fades as we get our first glimpse of the film's titular estate, a darkened blot against hulking rock crags. The song remains a banger, especially as the film version incorporates extra orchestrations by Anthony Willis. But while the song establishes a fittingly bleak tone for the rest of the film, its placement is odd. Why is this extremely claustrophobic track being used over a shot of Cathy and Nelly running with wild abandon across the vast moors? Why does this introspective, harrowing song serve as the soundtrack to a rowdy crowd scene? The visuals and song are separately entrancing, but they do not mesh. There's no sense of creeping dread or isolation. It's just Fennell throwing the song's climax at us in the hopes of overloading our senses. Unfortunately, in doing so, Charli XCX and Cale's refrain of "I think I'm gonna die in this house" loses its potency. It's not like Fennell couldn't have used "House" anywhere else. Cathy worries about wasting away in Wuthering Heights with her ruined father (Martin Clunes) before she meets Edgar Linton (Shazad Latif). Then, once at Thrushcross Grange, she realizes she's in a gilded prison. Not to be too literal, but if you have a song named "House," maybe tie it to a character's relationship to one of the film's two central houses! (After all, if my new husband painted my room the exact color of my face, mole and all, my reaction would absolutely be, "I think I'm gonna die in this house.") While Fennell doesn't use "House" to its highest potential, at least TikTok is on the case. The song has become a meme online, used to soundtrack moments of despair or unsettling images. (Belen Edwards)
Las Vegas News has an article on 'Novels that unfold like personal revolutions' including Jane Eyre by Charlotte Brontë: The Original Refusal to Be Small Let's be real: Jane Eyre has been igniting personal revolutions in readers for nearly two centuries, and it shows absolutely no signs of stopping. A novel of intense power and intrigue, Jane Eyre dazzles and shocks readers with its passionate depiction of a woman's search for equality and freedom. Orphaned Jane Eyre grows up in the home of her heartless aunt, where she endures loneliness and cruelty. This troubled childhood strengthens Jane's natural independence and spirit. There's something almost radical about a Victorian novel that still feels urgently relevant in 2026. The questions Jane asks, about self-worth, about whether love should cost you your dignity, cut straight to the bone. When she finds love with her sardonic employer Rochester, the discovery of his terrible secret forces her to make a choice. Should she stay with him and live with the consequences, or follow her convictions, even if it means leaving the man she loves? Every reader who has ever faced a similar crossroads knows exactly what that feels like. (Matthias Binder)
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