The Big Picture – "The Heaving ‘Wuthering Heights’ and the Throbbing ‘Pillion’: A Very Horny Valentine's Day Double Feature"

Date: February 13, 2026
Host: Sean Fennessey
Co-host: Amanda Dobbins
Guest: Sam Sanders
Special Guest Interview: Harry Lytton (director of "Pillion")

Episode Overview

This episode dives into two highly anticipated, sexually charged films: Emerald Fennell’s bold adaptation of the Brontë classic, Wuthering Heights, and Harry Lytton’s queer BDSM "rom-com," Pillion. Sean, Amanda, and Sam explore the artistic intentions, successes, and shortcomings of both movies, delve into broader cultural trends around eroticism on screen, and reflect on adaptation, desire, and representation. The episode also features an in-depth interview with Pillion's director, Harry Lytton.

Main Theme

A frank, critical, and at times hilarious exploration of two very different films that take sexual longing and discomfort—sometimes literally—to the big screen for Valentine’s Day. The hosts wrestle with what it means for cinema to be "horny" in 2026, how to interpret artistic provocation, and what makes a sex scene, adaptation, or cultural depiction actually work.

Key Discussion Points & Insights

1. Emerald Fennell’s Wuthering Heights: Provocation, Adaptation, and Identity

Fennell’s Reputation and the ‘Brand’

• The hosts discuss Fennell’s rise as a bold, divisive director:

  "She has emerged ... as one of the very few brand name female filmmakers in studio filmmaking in the last 10 years. And she has an identity." (Sean, 03:56)

• Prior films (Promising Young Woman, Saltburn) are debated for not "sticking the landing"—often bold, never quite satisfying.

Why Keep Adapting Wuthering Heights?

• Amanda frames the novel as "literary IP"—a classic brimming with taboo, gothic wildness, and "sensational at the time."

  "It was sensational at the time. So I think it's just like it's IP, honestly—literary IP." (Amanda, 06:03)

• Sam notes the confusion and multiplicity of the novel:

  "It is one of the most confusing books ever written. Why then does every filmmaker say, I'll do it?" (Sam, 05:45)

The Book is Not a Love Story

• Hosts argue Fennell’s marketing of it as "The greatest love story ever told" ignores its darker core:

  “Wuthering Heights is a revenge story, not a love story.” (Sam, 09:02)

Casting and Depiction of Difference

• Extended debate over the racial and class dynamics in Brontë’s text (Heathcliff’s ambiguous otherness) and Fennell’s casting of Jacob Elordi:

  “...it's so strange in the Fennell version ... to see that played by Jacob Elordi, like, sure, let it be a white guy. But ... he's so central casting ... and he's heartthrob.” (Sam, 13:42)
  “Race and class, which are intertwined ... are a major part of why the characters are doing what they're doing.” (Amanda, 14:40)

• Fennell opts for race-blind casting, but the panel argues the film misses the source text’s essential rage about class and ethnicity.

Adaptation Choices

• Major departures include removing crucial characters (the brother), flattening the story’s perspective, and repurposing the plot into a thwarted "Romeo & Juliet" rather than a tale of vengeance and gothic obsession.

Eroticism & 'Edging' Without Payoff

• The panel is unimpressed by the much-hyped sexuality and kink:

  “At every moment when this film is supposed to be sexy and erotic, I found it gimmicky and too much.” (Sam, 23:17)

• The film indulges in foreplay and suggestive imagery but ultimately remains frustratingly chaste and unconsummated.

Visuals, Tone, and Music Video Sensibility

• Despite elaborate production and costumes, the movie’s muted lighting and staging leave reviewers cold.

  “It was hard to see some ... was weird to me.” (Sam, 39:12)
  “The movie I think is at its best when it's in montage and is a music video ... she's a music video director.” (Sean, 37:20)

Provocation or Satire?

• Debate over whether Fennell’s movie is sincerely striving for romance, deliberately tongue-in-cheek, or merely provocative for its own sake.

  “It's provocative. They give people going.” (Amanda, 56:12)

Culture Context: Are Audiences Horny Again?

• A new wave of sexual explicitness onscreen after a bland, Marvel-ified era. But Wuthering Heights is seen as all tease; contemporary high-concept erotica like Colleen Hoover adaptations or Heated Rivalry at least “get off.”

2. Pillion: Erotic, Queer, and Tender

Film Summary (65:18)

• Pillion is a queer BDSM "rom-com" in which shy Colin (Harry Melling) is initiated by biker Ray (Alexander Skarsgård) into a transformative dom/sub relationship.

Critical Reaction

• Unanimous praise from the panel as a smart, tender, and unusually nuanced sexual coming-of-age story.
• Fun, old-school romantic comedy energy, but recharged by actual sex and “will they/won’t they” tension literalized in the physical relationship.
• The movie confronts pain, yearning, and consent directly—and lands its emotional arc better than Wuthering Heights:

  “Unlike Wuthering Heights, this film lands the plane. It is not a happy ending, but it is an ending that feels fulfilling. I love this movie.” (Sam, 66:03)

Chemistry and Performance

• Skarsgård hailed as a revelation:

  "After seeing this, I'm like, oh, you might be on your way to being one of the greats. Yeah, he's got it. And he chooses well." (Sam, 72:08)

• The brilliance of physical, psychological, and kinky tension, where friction and pain are linked to personal growth and kindness.

Handling of Sex and the ‘Penis Question’ (79:58 – 85:13)

• Debate over the limitations of onscreen male nudity:

  “There was something about Pillion and specifically that camping scene where I was like, I can feel the cut for sure.” (Amanda, 84:22)

• Recognition that the film finds erotic heat and realism without resorting to pornographic excess, but the hosts still wish for less restrictive ratings around male nudity.

3. Interview: Harry Lytton on Making Pillion (86:47 onward)

(See Notable Quotes and Interview Highlights below)

Notable Quotes & Memorable Moments

On Fennell’s Style:

• “Sex is... very viscous.” (Amanda, 24:29)
• “The eggs are fucking. And then no one fucks and no one resolves. And it's like, damn it, Emerald Fennell.” (Sam, 31:13)

On Mainstream Eroticism:

• “At every moment when this film is supposed to be sexy and erotic, I found it gimmicky and too much.” (Sam, 23:17)
• “This film never gets off. Yeah, it never gets off...” (Sam, 31:37)

On Adaptation:

• “You can't use the puzzle pieces of Wuthering Heights to make Romeo and Juliet.” (Amanda, 22:28)

On Cultural Trends:

• “People want to see sex, and they're unashamed to see it on screen.” (Sam, 28:26)

On Pillion:

• “He grows through this experience, and he becomes someone who knows more about what he wants and about how to get it.” (Sam, 74:26)
• “This is a very kind movie.” (Sean, 75:38)
• “By the end of it, you realize that the protagonist has come out of it loving himself more. Sign me up.” (Sam, 79:45)

Timestamps for Major Sections

• [03:24] Background on Emerald Fennell and her previous films.
• [05:45] Why adapt Wuthering Heights? Literary tradition & confusion.
• [10:50] Previous adaptations and the racial politics of Heathcliff.
• [15:59] The perils of faithful adaptation versus bold reimagining.
• [23:17] Sex in Wuthering Heights: the problem of ‘edging’ and never delivering catharsis.
• [39:46] The look and lighting of Fennell’s film—visual disappointment.
• [51:51] Prognosis for box office success despite mixed reviews.
• [62:43] Transition to Pillion discussion.
• [65:18] Plot summary and critical praise of Pillion.
• [67:39] Handling of BDSM dynamics and tenderness.
• [74:26] Growth, self-love, and romance in Pillion.
• [79:58] Penis on screen: limitations, editing, the cultural double standard.
• [86:47] Interview with director Harry Lytton (see below for highlights).

[Interview] Harry Lytton on Pillion (86:47–117:23)

Highlights & Key Insights:

• On Filmmaking Journey:
  Inspired by The Lives of Others at 19 (“my favorite film had been Kung Fu Panda until then!”), binged classic cinema to educate himself, started with shorts, and gravitated toward sexual transgression stories.

• On Adapting Box Hill:
  Tasked with turning a first-person queer novel into a visually-driven, cinematic story without voiceover ("we had to discover a new form... support visual storytelling rather than verbal").

• On Biker Iconography:
  Sought to update the "Tom of Finland" biker archetype with contemporary streetwear and materials ("wouldn't it be fun if the leathers... feel like something new...?").

• On Casting:

  • "Colin" needed to be memorable yet passive—Harry Melling’s unique physical presence was crucial.
  • Skarsgård embodies both a "head-turning beauty" and subtle psychological dominance.
  • No chemistry readings; trusted instincts and the actors’ talent.

• On Tone:

  • Actively balanced sincerity and humor, often shooting scenes both ways, to get it right in the edit.

• On Sex Scenes:

  • Respectful choreography and intimacy coaching were used; authenticity and comfort for actors were key.

• On Difference Between Sex and Yearning:

  • Explores the complex, decoupled relationship between sexual fulfillment and emotional yearning.
  • "Eventually that's what creates the real source of conflicts in the film."

• On Family Dynamics:

  • Reverses the classic “coming-out” arc; parents are supportive but jarred by their son’s unconventional relationship.
  • Captures contemporary, nuanced responses rather than tired tropes.

• On Future Ambitions:

  • Remains committed to independent filmmaking for authorial control and creative protection.

Notable Quote:

"The friction is the point, and the friction is the pleasure. The friction is the growth. The friction is the love. And so that felt so much more understandable to me because the dom sub makes it explicit." (Sam, 76:43)

Final Thoughts

Wuthering Heights
A visually bold, self-conscious work that frustrates in its attempt to recast an iconic, vengeful, class-obsessed novel as a modern, sexy tragedy. The hosts find Fennell’s project interesting but ultimately unsatisfying—teasing audiences with sexuality, but failing to either provide catharsis or illuminate the original’s power.

Pillion
A surprising, heartfelt, and mature queer romance. The film takes risks with explicitness and tenderness, landing an emotional payoff precisely where Fennell’s adaptation falters—delivering genuine growth, empathy, and erotic satisfaction.

For Listeners Who Haven’t Heard the Episode

• This episode moves fluidly between critical analysis, cultural commentary, and personal reflection.
• The hosts are blunt, passionate, and engaging—unafraid to call out what doesn't work or puzzle over ambiguous artistic intent.
• Wuthering Heights spurs fierce debate; Pillion earns rare, unreserved praise.
• The interview with Harry Lytton is refreshingly honest about the challenges of adaptation, collaboration, and capturing desire on film.

For more, check:

• [01:18] — Introduction to episode theme and guests
• [10:50] — Adaptation breakdowns of Wuthering Heights
• [62:43] — Pillion deep dive and discussion of onscreen eroticism
• [86:47] — In-depth Harry Lytton interview

Memorable quote to close:

“It’s provocative, it gets the people going.”
— Sam Sanders, quoting Anchorman and Kanye West (04:47)