On Examiner Live, a client of the Haworth Old Post Office restaurant didn't like one of the dishes: Haworth is a picturesque market town which was once the home of the famous Brontë sisters, a trio of 19th Century authors known for such classics as Jane Eyre and Wuthering Heights, along with a multitude of classic works with gothic themes and emotional resonance. It’s a lovely town, boasting narrow cobbled streets and a hodgepodge of old-fashioned shops, charming cafes and pubs, and surrounded by rugged moorland. I had a great time simply walking through the centre for the very first time and discovering all it had to offer. I was sent out to check out a restaurant called Haworth Old Post Office, located in the town’s converted old post office – the place where the famous sisters would have sent off their unpublished manuscripts. The post office dates all the way back to 1829, when the first penny post was used. (Samuel Port)
Imagine wandering through the desolate Yorkshire moors of Jane Eyre, or confronting the deadly Count in Bram Stoker's Dracula. It's one thing to imagine characters in these settings; it's another thing entirely to imagine yourself in them. Thanks to a new AI tool developed by chatbot program Character.ai, however, you can step into your favourite public domain novels with ease. The platform's latest "Books" feature enables users to literally insert themselves into some of the most beloved works of literature, from Pride and Prejudice to Frankenstein. Not only can you place yourself within the story, you can also embody existing characters, tinker with storylines, switch up settings and even change endings. Put simply, you can rewrite the classics. But should we? Interactive storytelling is nothing new – Netflix has released several "choose your own adventure" films since 2017, and video games have been playing with the concept for decades. These texts exist to be reinterpreted. The same can't necessarily be said for centuries-old novels. (Nell Geraets and Karl Quinn)
More AI garbage.
Natasha Lester, author of The Chateau on Sunset, explains in The West Australian how she wrote the book. You can agree with her views or not, but at least they're hers. Not some garbAIge. When I was 10, I walked into Duncraig Library as I'd done every week of my life thus far. I'd already worked my way through all the Enid Blytons, all the horse books, all the Chalet School series and all the Nancy Drews. The librarian wouldn't let me into the adult section of the library until I was 12. So I had to find something else in the children's section to occupy me. I decided to start reading the classics. Yes, I was a nerdy, bookish 10-year-old. I started with the "A" section, but some other nerdy, bookish 10-year-old must have visited the library that day because there were no Jane Austens left. I continued onto "B", and found a book called Jane Eyre. More than half the front cover featured a large image of Rochester on his rearing horse. In the bottom left-hand corner, taking up only about one-eighth of the cover space, was a woman. Yes, the woman whose name was on the front cover of the book was the smallest thing on that cover. That didn't strike me as particularly odd at the time — feminism hadn't quite found its way to Warwick, where I lived. I took the book home and started to read. Within a couple of chapters, I was lost forever to the magic of Charlotte Bronte's story. In an interview with Emerald Fennell about her Wuthering Heights adaptation, she said that her movie reflected the impression the book made on her when she first read it as a 14-year-old. That resonated with me. Back when I read Jane Eyre, what stayed with me was the so-called madwoman in the attic and Jane's best friend dying of consumption. Mysterious fires in bedrooms, men stabbed and bitten, an entire house burned down by the madwoman. It was only much later that I realised the main character of Jane had left hardly a mark on my consciousness. But when I reread the book as an adult, I couldn't believe that I'd been so seduced by the darkness and that I'd entirely overlooked the best part of the book — its heroine. (...) It was time to find a different era and setting for my next book, meaning I'd have to brainstorm an idea from nothing for the first time in years. (....) What if I reimagined Jane Eyre in some way? Immediately I could see Rochester's gothic Thornfield Hall transformed into the gothic Chateau Marmont. I had my book idea. I'd write The Chateau On Sunset, a reimagining of Jane Eyre, set at Hollywood's infamous Chateau Marmont during its 1950s and 1960s heyday. And I would tackle the sense of dissatisfaction I'd had with Jane's story since rereading it as an adult. What was I dissatisfied about? Well, there are many occasions in the book when Jane looks out at the hills that form a barricade between her and the rest of the world. She longs to cross those hills. She yearns to see the world, to have adventures. On the very first page of Bronte's novel, Jane's reading a book about birds and she imagines what it would be like to travel to the same places those birds do — the Arctic, Siberia. Does she? No. There's just one occasion in the book when she escapes beyond those hills. She runs across the moors and finds herself in a house with a man who's probably even more obsessive than Rochester. She promptly escapes back to Thornfield and her true love, Edward Rochester. It's no spoiler to say that, reader, she marries him. It's a romantically satisfying ending. As a child, I was completely happy with it. But as an adult I wondered — did Jane ever regret not having seen the wider world that she so longed to experience? Was there a way to give Jane Eyre an ending that was both romantically satisfying and personally satisfying? That's what's so wonderful about literary reimaginings. Jane Eyre is one of the first feminist heroines of literature. Who can forget her declaring to Rochester, in an era when the word feminism was foreign to most, that she was his equal? ( Read more)
Favorite fictional literary character: Jane Eyre. There’s something powerful about a young woman of little social standing deciding she cares enough about herself to stick by her principles. Who What Wear interviews the model and writer Julia Campbell-Gillies: Poppy Nash: What are your favourite three movies of all time? JCG: Pride and Prejudice (2005), Jane Eyre (2011) and Marie Antoinette.
The Telegraph & Argus publishes an opinion piece on how TV locations are influencing set-jetting travel trends: And this year’s Wuthering Heights film saw a tourism spike at Haworth and the Brontë Parsonage Museum. Haworth’s cobbles are well trodden by influencers wandering, wistfully, with a Brontë book. (Emma Clayton)
The streaming premiere of Wuthering Heights 2026 is mentioned in Infobae, Crónica (both in Argentina), SoapCentral, CBR, The Huffington Post, Times of India, inkl, US Magazine, Ámbito, Quéver, Taxidrivers, Collider, Cinemablend, ... The Wom Travel (Italy) explores the original settings of Wuthering Heights, both 2026 film and novel. A new scholarly study on the influence of the Brontës novels in Egyptian cinema:
by Shatha Ghazi Alajmi, Department of English Language and Literature, College of Languages and Translation, Imam Mohammad ibn Saud Islamic University, Saudi Arabia.(M.A.Thesis) Arab World English Journal (ID Number: 322) January, 2026: 1-84
This study examines the cross-cultural adaptation of classic English novels into mid-twentieth-century Egyptian film, specifically analyzing Jane Eyre and Wuthering Heights as reinterpreted in Hatha Al-Rajol Ohebboh (1962) and Al-Ghareeb (1956), respectively. This study, rooted in adaptation theory, film criticism, and reception studies, examines the transformation of these literary materials to embody Egyptian cultural values, religious sensibilities, and cinematic norms. This study examines the narrative, thematic, and ideological transformations that transpire in the transition from text to film, utilizing Linda Hutcheon’s theory of adaptation as both a product and a process, Dudley Andrew’s notions of cinematic metamorphosis, and Stuart Hall’s encoding/decoding model. It also integrates Hans Robert Jauss’s concept of the “horizon of expectations” as a supporting reference for the primary theoretical framework, analyzing how Egyptian audiences interpreted and responded to these adaptations from the 1940s to the 1960s. The study employs meticulous textual and visual study to illustrate how the films diverge from their British origins to express regionally relevant issues, including familial honor, moral decency, and emotional restraint. These adaptations are not simple replicas but rather efforts of cultural adaptation that contextualize Western narratives inside Arab social and moral contexts. The study emphasizes adaptation as a dynamic, dialogic process co-created by filmmakers and audiences through an examination of production and reception. This work enhances global adaptation discourse, especially in non-Western contexts, and promotes increased academic focus on Arab film as a venue for cultural negotiation, reinterpretation, and narrative agency.
Among many, many other sites announcing that Wuthering Heights 2026 is now available for streaming, Decider wonders whether to stream it or skip it: So are we drinking the Wuthering Heights (now streaming on HBO Max, in addition to VOD platforms like Amazon Prime Video) bathwater, or are we scowling at it in disgust? That’s the question of the day, my friends. Hot-button filmmaker Emerald Fennell’s third provocative outing after Saltburn and Promising Young Woman is a version of Emily Bronte’s 1847 all-timer of an English novel, albeit stripped down to bare bones covered in sweaty goosepimples. Fennell famously turned down $150 million from Netflix and took $80 million from Warner Bros. so the film could enjoy theatrical release, and the gamble worked – it was a $250-plus million worldwide hit, and its damp, soupy atmospherics (I’m guessing about $60 million of that budget went towards fog machines) and lush photography look even more stunning on a big screen. Oh, and so do its stars, Margot Robbie and Jacob Elordi, who lick each other up and down more than I remember from the novel. Not that I remember much. It’s been a while. And that’s probably for the better in this case. [...] What Movies Will It Remind You Of? Different Brontë sister, but Cary Fukunaga’s spooky, horror-coded 2011 take on Jane Eyre is highly memroable. And Sophia Coppola is a clear influence – see the many brilliantly styled anachronisms in Marie Antionette. Performance Worth Watching: Of course Elordi and Robbie are magnetic, even in underwritten roles. But what a movie like this needs, and gets, is a weird little wacko supporting character who steals scenes like Michael Shannon in Revolutionary Road, and we get one in Oliver’s hilarious, screw-loose characterization of Isabella, whose every display of lovely decoupage inevitably looks like engorged human genitalia. Crafty girl, this one. Sex And Skin: Buckets of it, although we see no bits, butts or boobs. Our Take: So: Are we slurping up Wuthering Heights or not? A little. Not heartily mind you, but Fennell heats up a frothy concoction that’s worth some sips, especially if you’re not a traditionalist potentially upset by significant alterations of the source material. Personally, I care not for authenticity of adaptation, and admire the audacity of Fennell’s interpretation, which indulges sloppy pig slaughter, big oozy snails leaving trails on windows, the slapping-flesh sounds of bread dough being kneaded, a pile of pink hairless pig’s feet that look like dicks, a couple instances of BDSM, a soundtrack heavy with Charli XCX, and the walls of Cathy’s bedroom at the Linton mansion, which are pink with freckles and delicately veiny, modeled after her luminescent skin. Fennell has never been afraid of getting fetishy with her films, but Wuthering Heights takes the cake and smashes it on everybody’s tits. So to speak. This is Fennell feeding Masterpiece Theatre or Merchant-Ivory into the meat grinder. This is no stodgy period piece bursting with repressed yearning. Its throb ‘n’ heave is considerable, even if its horniness is somewhat restrained at times, a few hairs shy of going over the top. Of course, it’s still ridiculous, a story set in a universe where logic is less than nil and passion is all, and narrative and thematic sloppiness is a byproduct most of us can deal with, in the context of the director’s robust and sensual visual aesthetic. (What’s the movie “about”? Death, sex and weather, in the broadest terms.) This is absolutely gorgeous trash, Fennell roping us in with meticulous and rigorously conceptualized eye candy and rubbing our face in egg yolks, pig’s blood and assorted varieties of mucus or mucus-adjacent substances. You likely know the basic what-happens of the Wuthering plot, but not the how, and within that margin Fennell gets playful, gross, lusty and funny. There’s absolutely no way you’ll take a single second of this seriously; it’s sexual obsession transformed into a sort of deranged comedy, intentional or otherwise, and Elordi and Robbie, faced with sketchy and uninspired renderings of their characters, lean heavily into their ability to explode screens with concupiscence. Try as I might, I can’t argue against that. The punkish lack of respect for classical English lit means you won’t likely feel emotionally involved enough to sense the depths of Cathy and Heathcliff’s pain, considering how much thematic barley this movie harvests from skin. Just skin. Skin everywhere – beading up, blushing pink, scarred and bleeding, on faces and bosoms and backs, even the damn walls around this joint. (You might actually wish it went a little farther here in the era of best picture Oscar nominee The Substance.) Wuthering Heights is all blood, sweat and tears, but unlike Saltburn, no semen, surprisingly. Progress? Or regression? Yeah, no. Sure? Maybe. You tell me. Inevitably, the liquids run low, and the film doesn’t end, it just slowly bleeds out, like a hog with its throat slashed. Come to think of it, maybe that’s what Fennell does to the source material. But so fucking what? Our Call: Wuthering Heights, wuthering blights on traditional literature. Approach it like it’s a very expensive soap opera and you’ll have a pretty damn good time. STREAM IT. (John Serba)
Con Cumbres Borrascosas, Emerald Fennell deja de lado la reverencia al texto original para ofrecer una adaptación que responde más a su propia sensibilidad autoral que a la tradición literaria. Es una propuesta arriesgada y, por momentos, irregular, pero también apasionada y visualmente potente. Si en Saltburn la obsesión se expresaba a través del exceso, aquí se canaliza mediante la estilización y la emotividad. El resultado es una versión distinta, provocadora y decididamente contemporánea de un clásico eterno. (Laia Cabuli) (Translation) Digital Spy explains the ways how you can stream the film in the UK: Emerald Fennell's Wuthering Heights has landed a new UK streaming home in time for the Bank Holiday weekend. Whether you're going in for a rewatch or a first watch, it's available to watch right now. Warner Bros has now added Wuthering Heights to HBO Max, but there is an important caveat if you're a subscriber in the UK. The Basic with Ads plan – which is included in the Sky Ultimate subscription or automatically given to existing NOW Entertainment subscribers – doesn't include brand-new Warner Bros movies. You'll need either the Standard with Ads plan (£5.99/month), Standard without ads (£9.99/month) or the 4K-enabled Premium tier (£14.99/month) to be able to watch the movie today, (...) However, HBO Max is not the only way to stream the movie tonight as Wuthering Heights has also now been added to Sky Cinema and NOW (with a Cinema membership). (Joe Anderton)
The Straits Times has an article on 'Why Emily Brontë’s Wuthering Heights withstands multiple readings and adaptations'.
A contributor to Mirror 'tried the 'moorcore' travel trend'. “Wuthering” is a Northern English term for a strong, roaring wind or a storm-lashed place, which is highly appropriate for Emily Brönte’s only novel – Cathy and Healthcliff’s tempestuous story of passion and revenge. It’s a harder sell for a holiday. That hasn’t stopped ‘Moorcore’ from becoming the latest trend in UK breaks. And what is Moorcore? It's a move-on from the cutesy cottagecore vibe (all roses round the windows, thatched roofs and cats curled by the fire). It’s wild and free. The feeling of standing atop a gritstone edge, a heathery moorland vista stretching to the horizon, tumbling waterfalls, fairy glens, fresh air in your lungs. There’s no better place to channel moorcore than on Haworth Moor – whose wild, heather-strews footpaths were well-traipsed by the Brontës. Two miles from their parsonage, Royds Hall Cottage is marked on maps from 1847, the very year Wuthering Heights published, and it’s likely it was a familiar sight for the sisters on their rambles. As we arrive, the breeze tusseling daffodils along the embankment and a buzzard hovering above, it feels magical. [...] On an energetic five-and-a-half mile loop from the cottage front door, we took in the waterfall at Lumb Beck (detailed in Charlotte’s letters to her friend, Ellen) and the desolate farmhouse at Top Withens – said to be the setting for Cathy and Healthcliff’s home. From there, across the moorland paths we discovered the Fairy Kirk at Ponden Clough (‘Penistone Crags’ in the novel), and beautiful Ponden Hall, which Emily Brontë used as Edgar Linton’s Thrushcross Grange and where her sister Anne set The Tenant of Wildfell Hall. Around Top Withens and the waterfall, there were scores of walkers admiring the famous views but, only a crow-call beyond, we saw barely a soul – just swooping curlews with their strange warbling cries and a roe deer bouncing off into the distance. It’s easy to find both wild inspiration and, afterwards, scones and clotted cream at Ponden Mill. In the other direction, Haworth village was less than an hour’s stroll. It's the focal point of Brontë pilgrimage, so it was busy – yet still so beguiling, with a sense of the sisters at every turn. Visiting on foot meant we could skip the car park and enter the village – just as they would have – from the footpath at the end of Church Street. Their house (now an unmissable museum) is the first you come to on the cobbled street. From the parlour table, the one Emily and her sisters worked at, you can still look out at the graveyard with its overcrowded, flat-lying gravestones. (Octavia Lillywhite)
A contributor to The Guardian 'tried to live for 24 hours without using oil-based products' and so Before dinner, I would usually mindlessly watch television but instead I lay a cotton cloth on the floor and enjoy an 1897 edition of Jane Eyre lent by a colleague. I have hundreds of books but didn’t realise most paperbacks made after 1900 use adhesives and plastic laminate, unlike the good old days of animal-based glue and wheat starch paste. (Caitlin Cassidy)
She could get this question from the Financial Times weekend quiz right then: In Charlotte Brontë’s novel, who does Jane Eyre marry? (James Walton) The Everygirl recommends Gothic books to binge, including Jane Eyre and Wuthering Heights. The Brontë Sisters UK explores in her latest video What Charlotte Brontë Though Was Worth Reading. This is a selection of songs inspired by several of Emily Brontë's poems recently published on Soundcloud, along with some AI visuals (you know, the usual slow motion, slightly creepy, and exceedingly cringey AI stuff)
No Coward Soul is a modern reinterpretation of the emotional and philosophical world of Emily Brontë. Blending indie rock, dark alternative, and atmospheric production, the album explores resilience, grief, identity, and quiet defiance. Inspired by 19th-century poetry but rooted in a contemporary sound, this project reimagines the Brontë voice as something immediate, raw, and alive.
2 · Nothing Lovely Here - Stanzas - Emily Bronte 3 · Still I Remain 4 · Cold in the Earth 5 ·The Old Stoic 6 · I Will Not Bend 7 · Shadowed Grave 8 · No Coward Soul in Mine 9 · I Am Not Yours to Bury
Originally broadcast in 1996, this TV period drama deserves recognition amongst the finest examples within the genre - at least according to enthusiastic fans.. Drawing from Anne Brontë's 1848 novel, The Tenant of Wildfell Hall is a British production made for the BBC under Mike Barker's direction. Spanning three episodes broadcast in 1996, the series presents the novel's narrative in a manner many devotees consider faithful to the source material. (Emily Malia)
This autumn, a powerful reimagining of Charlotte Brontë's Jane Eyre will be staged at Storyhouse in Chester from November 10 to 21, 2026. Helen Redcliffe, Head of Producing at Storyhouse, said: "One of the key themes of Jane Eyre is personal discovery and development, which feels especially fitting as we celebrate the RTST Sir Peter Hall Director Award and its commitment to championing the next generation of theatre-makers. "At Storyhouse, we are thrilled to be part of this partnership and to support Lily as she takes this exciting step in her career. "From the moment we encountered her work, we were struck by her bold, imaginative style and her instinctive understanding of our venues and audiences. "Her Jane Eyre promises to be a heightened, deeply theatrical experience, using the very best of storytelling to bring this beloved classic to life — and we are proud to play a part in what we’re certain will be an extraordinary journey for her and a memorable production for our community." Jane Eyre is a co-production between Storyhouse, the Mercury Theatre, Colchester, and Rose Theatre Kingston. (...) Lily Dyble, director, said: "What I see at the heart of this story is courage in the face of the unknown. "Jane Eyre reminds us of the risk and enormity of love, but also how uncertainty can breed hope as well as fear; that we can choose to fiercely love each other and ourselves, even within chaos, and even when our old lives have been lost to the fire. "I’m thrilled to be bringing Jane’s story to audiences across England this autumn, with the support of four wonderful venues and the RTST." (Josh Price)
La Stampa (Italy) visits the " Wuthering Heights's Yorkshire"... with some creative orthography: Woundering Heights, Kheigley... Però lo Yorkshire della Emily Brontë e delle sue blande cime vince sul Wessex, sui Cotswolds, sul Somerset e Dorset perché è davvero ruvido, gotico e più selvaggio suscitando introflessioni talvolta dilanianti. Così, come non dire dell'ultima versione hot di "Woundering Heights" girata da Emerald Fennel con Jacob Elordi e Margot Robbie (una Cathy troppo adulta rispetto a Heathcliff) e trasformata in un fiaba nera, piena di sangue, sesso e sospironi? Un adattamento sicuramente meno sognato, rispetto alle storiche precedenti, ma pur sempre infarcito di dimore fatiscenti e scorci strazianti. Non solo cuori infranti ma pure danza amorose, macabre o salvifiche e ad alto tasso erotico. Per cui di grande successo anche in quel pubblico giovane che la Brontë manco sapeva chi fosse. (Andrea Battaglini) (Translation) KPBS publishes an audio with Natasha Lester, author of the Jane Eyre retelling The Chateau on the Sunset, in conversation with renowned author Kaylie Jones. The Boston Globe talks about Wuthering Heights 2026 being now on streaming on HBO Max. The Times also recommends the film:
Wuthering Heights Sky Cinema Premiere/Now, 8pm Emerald Fennell isn’t mucking about with her adaptation of the Emily Brontë classic. As well as ravishing Aussies in the lead roles (Margot Robbie as Cathy and Jacob Elordi as Heathcliffe), we get eye-popping cinematography, songs courtesy of the hyperpop princess Charli XCX, Martin Clunes as Cathy’s cruel alcoholic father and the young Heathcliff played by Owen Cooper. (2026)
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