{"id":930,"date":"2026-07-12T16:11:48","date_gmt":"2026-07-12T16:11:48","guid":{"rendered":"https:\/\/relocationacrossamerica.com\/?p=930"},"modified":"2026-07-12T16:11:48","modified_gmt":"2026-07-12T16:11:48","slug":"gail-daughtry-and-the-celebrity-sex-pass-is-absurdism-done-right","status":"publish","type":"post","link":"https:\/\/relocationacrossamerica.com\/?p=930","title":{"rendered":"\u201cGail Daughtry and the Celebrity Sex Pass\u201d is absurdism done right"},"content":{"rendered":"

Jennifer Aniston has a problem that most aspiring actors would die to have: She\u2019s too beloved. Factor in that she\u2019s also too recognizable, too beautiful and apparently too eager to sign a million-year Aveeno skincare contract in blood, and you get a little thing I like to call \u201csubversive ubiquity.\u201d This is where an actor widely known for one long-running role, usually on television, finally concedes that disappearing into another character is all but impossible. But instead of accepting their Faustian fate and relegating themselves to being famous for fame\u2019s sake, they attempt to subvert their cultural ubiquity into something just as interesting, something that is, in its own way, an art form: playing themselves.<\/p>

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Now, one might think that it would be easy for an actor to play themselves. There must be no prep involved, so they can just show up to the set and fire off some lines, right? Wrong. Playing oneself is more difficult than it seems. It\u2019s a skill that requires both an innate understanding of your own identity and the world\u2019s perception of you. Do you think Aveeno could tie with Dove and Jergens in a 2024 survey of America\u2019s most trusted body lotions if Jennifer Aniston couldn\u2019t convince people that her home office is a Wayfair showroom that is also, somehow, a kitchen? I think not. Aniston\u2019s great skill isn\u2019t acting; it\u2019s knowing how to be both the everywoman and herself. It\u2019s why she largely sinks in dramas but succeeds in comedies, where she can portray a version of herself that makes people laugh just by thinking, \u201cIsn\u2019t it so funny that Jennifer Aniston said that?\u201d<\/p>\n

That is just one reason why I\u2019m delighted to tell you that \u201cGail Daughtry and the Celebrity Sex Pass\u201d is far and away the year\u2019s funniest movie \u2014 I might even be so bold as to say it\u2019s within the top five comedies of the decade so far. Directed by \u201cWet Hot American Summer\u201d creator David Wain and co-written by Wain and Ken Marino, \u201cGail Daughtry and the Celebrity Sex Pass\u201d is just as head-spinning as its 40-character title. Take a deep breath at the film\u2019s start, because you won\u2019t have a moment to retain your composure once Wain and Marino\u2019s blissfully imaginative, \u201cWizard of Oz\u201d-riffing odyssey of a screenplay gets going.<\/p>\n

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(Sony Pictures Classics)<\/span> Jon Hamm as himself, Tobie Windham as Terrence, Ken Marino as Vincent, Ben Wang as Caleb, Zoey Deutch as Gail Daughtry and Miles Gutierrez-Riley as Otto<\/p><\/div>\n

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Most comedies plummet halfway through their second act. But \u201cGail Daughtry and the Celebrity Sex Pass\u201d stays soaring, swooping through high-concept absurdist bits, running gags that don\u2019t lose their repeat value, and a slew of cameos that zig just when you think they\u2019ll zag.<\/p>\n<\/div>\n

A brilliant cameo from Aniston promoting her new cookbook, with such adventurous epicurean dishes as \u201cboiled hot dogs and peas,\u201d serves as the film\u2019s inciting event. When plucky, small-town bride-to-be Gail Daughtry (Zoey Deutch) and her deadbeat fianc\u00e9 Tom (Michael Cassidy) attend Aniston\u2019s book signing, they agree that Aniston could be Tom\u2019s fantasy celebrity sex pass. There\u2019s no way Tom would ever actually get the opportunity to have sex with Aniston, anyway. That is, until Tom forgets his jacket inside the bookstore. Suddenly, Gail finds herself looking to even the playing field and sets off on a journey to Tinseltown alongside her best friend, Otto (Miles Gutierrez-Riley), in search of the sensual, hairy-chested comforts of one Jon Hamm.<\/p>\n

After laughing until I cried at Aniston\u2019s bit part, where she plays an airhead version of herself that only an actor well-versed in the principles of subversive ubiquity could be, I assumed there was no way the film could maintain its high. Most comedies plummet halfway through their second act, when the jokes get stale, and studios demand some kind of emotional stakes. But \u201cGail Daughtry and the Celebrity Sex Pass\u201d stays soaring, swooping through high-concept absurdist bits, running gags that don\u2019t lose their repeat value, and a slew of cameos that zig just when you think they\u2019ll zag. Move over, \u201cWicked\u201d; there\u2019s a new Dorothy in town, and her name is Gail Daughtry!<\/p>\n

Let\u2019s get something important out of the way: Don\u2019t bother with watching the trailer before you seek out \u201cGail Daughtry and the Celebrity Sex Pass\u201d for yourself. Trailers may be integral to a film\u2019s promotional process. But no editor in the world could recut something like \u201cGail Daughtry\u201d into a two-minute preview that accurately conveys just how joyous and stupid this film is. Relying on a trailer would be a disservice to your soul, not to mention that watching it would spoil a couple of key comedic bits and cameos that are best seen within their intended context. (I recognize the irony in revealing Aniston\u2019s, which isn\u2019t in the trailer. But since it arrives at the start of the film, and because there are no less than five terrific sight gags and perfectly timed punchlines within her portion of the movie, there are still plenty of surprises waiting to be enjoyed.)<\/p>\n

\u201cGail Daughtry and the Celebrity Sex Pass\u201d is not a comedy in the contemporary sense of the word. Wain didn\u2019t design this film to fit into clip-farmed compilations on TikTok or even one-minute clips on YouTube. Its closest resemblance is to Wain\u2019s 2014 romantic comedy parody, \u201cThey Came Together,\u201d which, despite having no shortage of memorable one-liners, functions best as a whole. The ideal way to settle into the tone and rhythm of \u201cGail Daughtry\u201d is by plunking down in the dark of a movie theater or your living room, preferably with a friend or two, and giving the movie your undivided attention. There hasn\u2019t been a film with so many legitimate blink-and-you\u2019ll-miss-it gags in some time. Consider when Gail and Otto arrive in Hollywood and hop in a cab driven by Richard Kind. Instead of spending the money on a pricey establishing shot of the car driving on the 101, Wain inserts a brief vintage clip of a \u201970s-era taxi, humming along the road. It\u2019s the making of a perfect joke: totally superfluous and uniquely dumb.<\/p>\n

Yet, Wain and Marino cleverly use seemingly unnecessary visual asides like this to create a quasi-love letter to Hollywood filmmaking, asserting that there is no shortage of the kinds of tales you can tell about a fish out of water \u2014 and how you can tell them. Their take on \u201cThe Wizard of Oz\u201d is remarkably fresh, with Deutch playing the perfect Dorothy, fresh from Kansas and looking to bang a celebrity. She has both Judy Garland\u2019s bubbly conviction and wide-eyed naivete, along with the kind of comedic timing that few actors exhibit today. Her delivery is assured yet self-effacing, no doubt the result of having parents in the industry (actress Lea Thompson and director Howard Deutch). Say what you will about nepo babies, but there can be a strangely ironic lack of vanity to those who are born within the golden gates and aren\u2019t trying to forge a career on self-obsession alone.<\/p>

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That\u2019s also why it\u2019s so thrilling to see Deutch in a role like this, and Wain and Marino leafing through their decades of experience trying to get comedies made in Hollywood as the industry steadily shifts toward dramas. With its jokes about the inner workings of Hollywood agents at CAA and the trappings of fame and fortune, \u201cGail Daughtry\u201d could easily feel like inside baseball. Instead, the movie welcomes audiences of all kinds by playing up LA\u2019s inherent absurdity. The film\u2019s version of this city is as cutthroat and ridiculous as it is in real life, which makes it all the more compelling and enjoyable to see gullible Gail navigate her way through every outrageous situation. Maybe coming to Hollywood to try to find and have sex with Jon Hamm isn\u2019t any more of a fool\u2019s errand than moving to Tinseltown with three bucks and a suitcase full of dreams of seeing yourself on the big screen.<\/p>\n

As she walks Hollywood Boulevard, Gail adds new members to her crew, just as Dorothy does as she skips down the yellow brick road. Alongside Otto, there\u2019s Caleb (Ben Wang), an aspiring agent whose cocksureness gets him fired from his dream job; Vincent (Marino), a former paparazzo whose failure to capture his white whale celebrity still haunts him to this day; and John Slattery (the real one), who\u2019s fallen on hard times ever since \u201cMad Men\u201d went off the air.<\/p>\n

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(Sony Pictures Classics)<\/span> Jon Hamm as himself in \u201cGail Daughtry and the Celebrity Sex Pass\u201d<\/p><\/div>\n

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The film\u2019s version of LA is as ridiculous as the city is in real life, which makes it all the more enjoyable to see gullible Gail navigate her way through every situation. Maybe coming to Hollywood to find and have sex with Jon Hamm isn\u2019t any more of a fool\u2019s errand than moving to Tinseltown with three bucks and a suitcase full of dreams.<\/p>\n<\/div>\n

Here\u2019s another running bit that would be so easy to muck up or exploit. The big joke of \u201cGail Daughtry\u201d could be that Slattery joins the gang to help locate his old costar, with whom he\u2019s lost touch after being left on read too many times. But Marino and Wain wisely temper this punchline throughout their script. They\u2019ve crafted the ideal framework for Gail\u2019s journey, where calling on Slattery is never unwelcome. Time and again, I found myself relishing the fact that what I was watching didn\u2019t play like a feature-length bit from an old Emmys telecast, the kind that already wears out its welcome with the audience by the time the presenter gets to \u201cand the nominees are.\u201d<\/p>\n

The film\u2019s brilliance comes from Wain and Marino knowing how to pummel the viewer with jokes while measuring each punchline\u2019s individual weight. Drop too many heavy-hitters at once, and the viewer will be dizzy in seconds, watching cartoon ruby slippers dance in a circle around their head. But balance the scales, and the audience will build and refine their comedic muscles, able to withstand anything that\u2019s thrown at them. And that\u2019s an important skill.<\/p>\n

Few modern comedies know how to build within their narrative; it\u2019s why something like \u201cStop! That! Train!\u201d loses steam, or even the \u201cNaked Gun\u201d reboot can\u2019t maintain its rhythm all the way to the end credits. A rise-and-fall tempo is necessary \u2014\u00a0 even if, in the case of \u201cGail Daughtry,\u201d the undulation is almost imperceptible. Its closest cousin in formula is \u201cThe Invite\u201d (what a great pair for a double feature), which maintains its comedic stride but has a very different goal from Wain\u2019s film. Here, as trite as it sounds, laughter is medicine. The setup is the shot, and the punchline is the chaser, and they both go down smooth.<\/p>\n

I haven\u2019t even had a chance to tell you about the ingenious side plots, like Gail and Otto\u2019s desire to attend a hairdressing convention with their favorite style guru, Remy Fontaine (Thomas Lennon). Or the antagonist, the Wicked Witch of West Hollywood, Ludovica (\u201cThe White Lotus\u201d breakout Sabrina Impacciatore), who is hell-bent on taking down the world\u2019s financial systems for hysterical personal reasons. And, of course, the team does eventually meet up with Hamm, too. But those threads are waiting to be unspooled on your own trip to Hollywood via the silver screen. In remixing one of cinema\u2019s most revered classics with singular comedic flair, Wain has made a contender for his best film that succeeds by tributing his own loony industry. There may be no place like home, but there\u2019s no place like Hollywood, either.<\/p>

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