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‘Sebastian’ re-writes the sex work movie

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‘Sebastian’ re-writes the sex work movie

Ruaridh Mollica in Sebastian.

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“So, tell me about yourself” are the first words you hear in the film Sebastian, delivered softly but directly by a nervous man trying to avoid monotone.

For anyone who’s ever dated or used hookup apps before, the awkward tension is recognizable enough to send a shiver of embarrassment down your spine.

“What do you want to know?” responds the voice of a much younger man, in a tone that suggests he really wants to know why the other man is interested.

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What follows, only two minutes into the film’s nearly two-hour runtime, are the intense sights and sounds of lovemaking that seems so real it will have you checking the movie’s rating. Although this sexual encounter between two men is clearly not love, it isn’t a quick anonymous hookup either. It’s a transaction.

The young man who calls himself Sebastian is a sex worker for the digital age — meeting clients online and making their dreams come true for an hour or two in real life. Sebastian’s name is actually Max, and he isn’t really after money. Rather, he’s mining his experiences for stories.

“He’s kind of desperate to get this debut novel,” said Sebastian’s writer and director Mikko Mäkelä, but Max’s desperation threatens to unravel his ambitions.

NPR’s Ayesha Rascoe spoke with Mäkelä and star Ruaridh Mollica about what the film has to say about authenticity, sex and different generations of queer men.

No big deal

Mikko Mäkelä’s own journey of self-discovery led him to Sebastian. He told NPR that when he first moved to London after finishing university, he was inspired by the matter-of-fact stories his friends told about sex work.

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“It really seemed to be becoming almost another option in London’s gig economy,” Mäkelä said. “The threshold to going into sex work seemed to really have lowered and I really wanted to craft a portrait of a character for whom sex work is a choice rather than something done out of a lack of them.”

Mäkelä said that he wasn’t interested in creating yet another sex worker drama focused on trauma — but that he didn’t want Max to be void of conflict either. In fact, the character’s dueling lives threaten to overwhelm him throughout the film.

Ruaridh Mollica said he felt the conflict brewing within his role from the very first reading.

“That’s why he decides to do it under the alias of Sebastian at the start. And I think once you decide to keep it a secret, it’s almost like [it] kind of festers and it becomes harder and harder to admit it,” Mollica said. “I don’t think Max wanted to feel judged or was in a position with himself where he felt comfortable enough, and like, self-accepting enough to be judged.”

Mäkelä said he wants the audience to question their own biases as Max does in the film.

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“I think there is definitely a lot of hypocrisy around that idea where the [publishing] industry might, you know, fetishize those stories, but … a publisher might still judge the writer who is also a sex worker,” he said.

Framing every sex worker as a victim, backed into a corner, isn’t always accurate or interesting (something Max eventually finds out in the film). Neither is a film where the sex seems unrealistic, Mäkelä said.

Sex should be real and shameless

Queer viewers — especially those who identify as male — will be struck by how true-to-life the sex scenes are in Sebastian. The movements, sounds and, er, shall we say “mechanics,” are so accurate you may question whether there’s any pretending at all.

“The sex scenes were such an integral part of the story that they had to be thought of in just the same way as [the] building blocks of character,” director Mäkelä told NPR. “I think it’s really important to continue to provide for representation of queer sex where certainly, you know, there is more and more in [the] media, but … it’s not always realistic.”

Mäkelä identifies as gay himself, and his star Ruaridh Mollica said the 35-year-old writer/director’s script was already quite thorough. Still, Mäkelä enlisted the help of intimacy coordinator Rufai Ajala.

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“It’s also important to work with a queer intimacy coordinator who would, you know, kind of understand the anatomy in [a] detailed way to make sure that those scenes did ring true to two queer audience members,” Mäkelä said. “And it was also really important to have a range of sex scenes with different clients and kind of see different body types … and ages.”

In Sebastian, Ruaridh Mollica plays an aspiring novelist who turns to sex work to gather material.

In Sebastian, Ruaridh Mollica plays an aspiring novelist who turns to sex work to gather material.

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Sebastian is actor Ruaridh Mollica’s biggest role, and having to be close-to-nude for much of the film made it a challenging one. He said having an intimacy coordinator like Ajala on-set was crucial.

“I think intimacy coordinators are so important nowadays,” Mollica told NPR. “They will just set you up with the other actor and you’ll do all these experiences and workshops of safe touches and going through each other’s bodies with each other in a very respectful way, and building boundaries and just feeling safe and comfortable. After about half an hour, you would feel so relaxed and trusting with your co-actor.”

Mollica said that, beyond the intimacy coordinators, he was just lucky to have such talented and gracious scene partners, including character actor Jonathan Hyde.

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Ageism among queer men

Mollica vividly recalls working with Hyde, who plays the one client his character meets who actually steals his heart.

“Jonathan Hyde is one of the most wonderful people I’ve ever had the pleasure of working with. He was just such a silly, fun guy,” Mollica told NPR. “He gave his whole heart to those scenes and really almost brought this energy into the air of like, ‘no, let’s, let’s live this and be real here.’ We all dropped our guard and just got to be a part of it. And I think those scenes are some of the most powerful because of that.”

Hyde’s character Nicholas is an older literature professor who’s recently lost his partner of 29 years. He is almost immediately vulnerable with Mollica’s much younger Sebastian, and what starts as a transactional relationship soon develops into something sweet.

“I really wanted through that encounter for Max to be surprised and the audience to be surprised as well,” Mäkelä said. “I really wanted to challenge Max in what his preconceptions about sex work had been, and and what his experiences thus far had been.”

Jonathan Hyde in Sebastian.

Jonathan Hyde in Sebastian.

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And the surprise, in part, is that Max (or Sebastian) isn’t expecting to fall in love with a man so much older than he is. Because, well, as Mäkelä put it: “I think the gay community can be and generally is quite horribly ageist.”

“I think maybe on a subconscious level, even I was wanting to kind of work against those preconceptions. Like Max says as well, outside of these meetings, there might not really be many other venues in which these characters would have anything to do with one another,” he said.

In the film, Max is steadfast in including the love story between him and Jonathan Hyde’s character in his novel, even if the publishers aren’t convinced. Because as he says in the film “they’re transmitting queer history and culture and that’s something I want to talk about.”

In the end, actor Ruaridh Mollica said he’s learned as much about acting as he has about himself from becoming Sebastian.

“I feel so much more confident in myself after that. And even my body confidence, you know, having to be practically naked on set every day and knowing that’s going to be released and it really has just been a complete self-acceptance of my sexuality,” said Mollica, who identifies as queer. “You know, it’s something that I was open about with people around me, but not something I had talked about so publicly before.”

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Sebastian is playing in select theaters now.

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

Wyle, who spent 11 seasons on ER, returns to the hospital in The Pitt. Now in Season 2, the HBO series has earned praise for its depiction of the medical field. Originally broadcast April 21, 2025.

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.

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The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.

Scenes from the new installment feel almost too recognizable to many doctors.

The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.

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Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.

Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.

So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.

That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.

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To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?

I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.

OK, but is every shift really that chaotic?

I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”

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As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?

There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.

Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?

I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.

If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.

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As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.

Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.

The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.

2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?

I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.

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There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.

In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?

The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.

The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.

A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?

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Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

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Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?

Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.

But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”

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The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.

Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.

In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.

There are so many more themes explored this season. What else should viewers look forward to?

I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.

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I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.

But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.

Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.

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