When John Slattery received an unexpected call from his former Mad Men co-star Jon Hamm, the actor was thousands of miles away in Budapest, immersed in the somber atmosphere of a post-World War II drama. The timing was perfect—Slattery was battling jet lag, making him unusually receptive to unconventional propositions. Hamm had an intriguing offer: comedy filmmaker David Wain, the creative force behind cult classics like Wet Hot American Summer and Childrens Hospital, wanted Slattery for a role that seemed almost too meta to be true. The character? John Slattery himself.
The project, titled Gail Daughtry and the Celebrity Sex Pass, promised to be a departure from anything Slattery had tackled before. Unable to resist the curiosity, the actor fired off a text to Wain requesting the script, then spent the night devouring the absurdist comedy that would bring him and Hamm together again on screen.
The film's premise centers on a Midwestern bride-to-be who embarks on a chaotic journey through Los Angeles after discovering her fiancé has exercised his celebrity "hall pass"—a hypothetical free pass to sleep with a famous person. Determined to settle the score, she sets her sights on her own celebrity conquest: Jon Hamm. This quest leads her to enlist the help of a down-on-his-luck John Slattery, who in the film's universe has fallen from the glamorous heights of his Mad Men fame and is now skulking through the San Fernando Valley.
The meta-narrative represents a bold creative choice, allowing both actors to play exaggerated versions of themselves while exploring the bizarre culture of celebrity worship. For Slattery, the initial reading was revelatory. "It was funny and weird and like nothing I had done before," he recalled, capturing the essence of Wain's distinctive brand of humor that blends satire with unapologetic absurdity.
Hamm's involvement with the project stemmed from a two-decade-long friendship with Wain and his creative partner Ken Marino. The Emmy winner's history with the comedy collective dates back to his experience watching Wet Hot American Summer in theaters, long before its ensemble cast—including Paul Rudd, Amy Poehler, and Bradley Cooper—became household names. Hamm would later contribute to Wain's universe with a brief appearance in The Ten and participation in Wet Hot American Summer spinoffs.
The collaborative spirit among these comedy veterans creates a unique working environment where goodwill and creative freedom outweigh financial compensation. Hamm candidly described the proposition: "When you get an offer to go to work and it's, 'Come and laugh for 12 to 14 hours, and you'll also get a very meager paycheck, as well.' You go, 'OK, that sounds fun.'" This sentiment underscores the reputation Wain and Marino have cultivated throughout their careers—one that attracts top-tier talent willing to work for reduced pay in exchange for artistic fulfillment and pure enjoyment.
The film's working title, I'll Take the Hamm, hinted at the project's playful self-awareness. For Hamm, the opportunity to be "projected through the lens of Ken Marino and David Wain" proved irresistible. The experience promised not just professional satisfaction but the chance to participate in the kind of creative playground that has become increasingly rare in today's franchise-driven landscape.
A signature element of Wain's productions is the sprawling ensemble cast, and Gail Daughtry continues this tradition. Slattery marveled at the experience of encountering familiar faces in unexpected places during production. "You would run into people in the parking lot or in the makeup trailer, and you're like, 'That's crazy,'" he said, highlighting the project's ability to attract a rotating roster of A-list talent who drift in and out of scenes with delightful unpredictability.
While Hamm and Slattery represent established members of Wain's comedy orbit, the film introduces fresh blood in the form of Zoey Deutch as the titular Gail Daughtry. The actress, who recently portrayed Jean Seberg in Richard Linklater's Nouvelle Vague at Cannes, embraces a radically different character in Wain's absurdist universe. When questioned about her attraction to the role, Deutch responded with refreshing honesty: "I'm not gonna sit here and be like: 'The emotional vulnerable journey she goes on.' No, it's ju—" her answer cut off in the original text, but the implication is clear: this is a project driven by fun and comedic instinct rather than dramatic depth.
The Mad Men reunion adds another layer of meta-commentary to the proceedings. Both actors have navigated the complex terrain of post-phenomenon careers, where iconic roles can simultaneously open doors and create typecasting challenges. By playing fictionalized, diminished versions of themselves, they engage in a form of self-satire that acknowledges both their legacy and the fickle nature of Hollywood fame.
The film's premise touches on the contemporary obsession with celebrity culture and the absurdity of "hall pass" fantasies that have become commonplace in popular discourse. By literalizing this concept and following it to its ridiculous conclusion, Wain and his collaborators create space for both broad comedy and subtle critique of fame's ephemeral nature.
Production details reveal the project's modest scale, which paradoxically allows for greater creative freedom. The meager paychecks Hamm mentioned suggest a lean, efficient shoot focused on capturing spontaneous moments rather than elaborate set pieces. This approach has served Wain well throughout his career, from his early days with The State to his more recent streaming successes.
The San Fernando Valley setting for Slattery's character provides a specific Los Angeles texture that grounds the absurd premise in a recognizable reality. This juxtaposition of the mundane and the surreal represents another hallmark of Wain's style—finding comedy in the friction between everyday life and bizarre circumstances.
For audiences, Gail Daughtry and the Celebrity Sex Pass promises a return to the kind of character-driven comedy that prioritizes wit and performance over spectacle. The involvement of Hamm and Slattery, both respected for their dramatic and comedic chops, signals that the film will balance its sillier moments with genuine acting craft.
The project's genesis during Slattery's Budapest shoot demonstrates how modern filmmaking relies on digital connectivity to bridge geographical gaps. A single text message initiated a chain of events that would bring together multiple Oscar and Emmy nominees for a project that celebrates the joy of creative collaboration.
As the film prepares for its festival debut, it enters a landscape hungry for original voices and risk-taking comedy. In an era dominated by safe bets and established IP, Wain's commitment to his unique vision—supported by friends willing to work for laughs rather than paychecks—represents a minor act of rebellion against industry norms.
The reunion of Hamm and Slattery, far from being mere nostalgia bait, serves the story's larger themes about fame, identity, and the stories we tell ourselves about celebrities. By stepping into exaggerated versions of their public personas, they invite audiences to question the nature of stardom while enjoying the simple pleasure of watching skilled performers at play.
Ultimately, Gail Daughtry and the Celebrity Sex Pass embodies the best aspects of independent comedy: a clear vision, a committed ensemble, and the freedom to explore strange ideas without corporate interference. For Slattery, jetlagged in Budapest, that late-night script reading led to something genuinely unexpected. For Hamm, it represented another opportunity to support friends whose work he has admired for decades. And for audiences, it promises the kind of laughter that comes from seeing familiar faces in thoroughly unfamiliar situations.