Jon Hamm

Bill Hader, Now a Leading Man, Has Transformed into Jon Hamm

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Amy Schumer’s Trainwreck comes out July 17, and the comedian is doing the press rounds, alongside her co-star, Bill Hader. In the filmHader plays the romantic lead, a far cry from his typical semi-creepy character roles or even his morose, failed actor character in The Skeleton Twins. Though in the interview, Schumer and Hader claim that his new Hollywood identity hasn’t changed him in any way, it’s hard not to notice that he looks a little more like quintessential-male-object-of-the-last-decade’s-desires, Jon Hamm, than usual. 
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The Peas Are Present: Links You Need to See

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The New York Times got on the Internet’s bad side today with what people took as a particularly unforgivable bit of blasphemy: the tweeted suggestion that peas should be put in guacamole, based on an ABC Cocina recipe that the paper had actually published back in 2013. As The Guardian noted, “the mockamole of ‘pea-gate’ quickly escalated to a bipartisan political platform,” with Jeb Bush, the Texas Republican Party and Barack Obama all weighing in. Since the initial outrage, some brave, selfless individuals have spoken out in the recipe’s defense. 
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How ‘Mad Men’ Appropriated the Ethos — and an Icon — of ’70s Cinema

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Amidst all of the con-man shenanigans and cancer drama of this week’s Mad Men, there was one tiny, throwaway detail that gave this viewer a surge of delight. As Don lounges in his motel room while awaiting the leisurely repair of his car, chatting with his young doppelganger Andy, he casually sets down the paperback he’s been enjoying and, hey, wouldn’t you know it, it’s The Godfather. The show’s always taken great pains to put the books of the moment in the hands of their characters, and make no mistake, a paperback of Puzo’s bestseller is a snug fit for the mid-1970 timeframe. But from our vantage point, The Godfather is more than a motel paperback — it’s one of the great movies of the 1970s, and its appearance in Don’s hand plays like a subtle acknowledgment of the debt Mad Men has always held to the cinema of the era.
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Why ‘Mad Men’ Is Comfort-Food TV for Viewers Who Didn’t Live Through the ’60s

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Mad Men is, at its essence, a show about terrible things happening to occasionally terrible people. Its characters are adulterers, careerists, alcoholics, and liars; they’re prone to selfishness, sexism, racism, and exploitation. Set in a period of massive social shift, they’re often (and often proudly) on the wrong side of history. The country’s in a shambles, relationships are falling apart, children are being damaged, lives are being destroyed. Even in this antihero-friendly pop culture environment, such grim goings-on risk alienating even the most intellectual audience — and yet Mad Men has done anything but that, drawing a viewership that ravenously consumes the bad behavior of its subjects. What pulls them to the show? Here’s one theory: in an odd, schadenfreude-tinged way, Mad Men is comfort television.
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“It’s About Class”: Matthew Weiner and ‘Mad Men’s’ Cast on the Show’s Final Episodes

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“It’s about the malleability of American culture,” said Mad Men creator, writer, and showrunner Matthew Weiner on Saturday night. Weiner was at a sold-out Alice Tully Hall in Lincoln Center to toast “Mad Men: The End of an Era,” a special panel celebrating the show in its final season. The event was set up like a clip show, with Weiner joined by Jon Hamm, January Jones, Christina Hendricks, and John Slatter. The actors introduced their favorite clips featuring their Mad Men characters — Don Draper, Betty Draper, Joan Holloway, and Roger Sterling, respectively — and reminisced over how these scenes came to be and what they learned from them. It was a night of celebration and remembrance — there was nothing as close to a hint about what will happen when Mad Men‘s final seven episodes start next Sunday on April 5, but still plenty to learn about one of finest shows of our time.
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“People Want to Be Whisked Away”: ‘Mad Men’ Exhibit Illuminates the Ideas Behind the Iconic Show

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Early on in the Museum of the Moving Image‘s Matthew Weiner’s Mad Men exhibit, there’s a framed display of three pieces of notebook paper. It’s from 1993, dated “1 a.m.” in the corner, and it’s a bunch of chicken scratch from Weiner’s journal that, taken together, forms the very beginning of Mad Men. “Got an idea the other day,” he writes, “my horoscope said I’d have a great one and although it had been a passing thought a few days before now, it is suddenly real.”
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