It will air until November 8th.

I like Vincent Kartheiser too!

An excellent cast!

<p><span style="font-size:19.5pt;"><font face="Verdana">The Women Behind ‘Mad Men’</font></span>

<span style="font-size:10.5pt;"><font face="Verdana">A writing team dominated by women shapes the chauvinistic world of the TV hit; reading a mother’s 1960s love letters</font></span>

<span style="font-size:7.5pt;"><b><font face="Tahoma">By AMY CHOZICK</font></b></span>

<span style="font-size:10.5pt;"><font face="Georgia">On a Sunday afternoon the writing staff of hit drama “Mad Men” gathered in supervising producer Lisa Albert’s sunny dining room. Over homemade guacamole and a pitcher of mojitos, they debated whether Betty Draper, the fictional 1960s housewife of advertising executive Don Draper, should have a one-night-stand in a smoky Manhattan bar.

Brooks Brothers made the custom suits for these two leading characters in “Mad Men.” Suits of this period, the early ‘60s, were slim-fitting and often two-button.

The men were against it. Betty would never compromise her integrity like that, consulting producer André Jacquemetton recalls saying. Most of the female writers disagreed.

After all her husband’s infidelities, “how the hell is she going to take Don back if she doesn’t do this?” executive story editor Robin Veith argued.

Mr. Jacquemetton was outnumbered. From this discussion came a pivotal scene in the final episode of season two: Betty sleeps with the stranger. The writers will reveal what’s next for Betty when the show’s highly anticipated third season starts Sunday, Aug. 16 on AMC.

Behind the smooth-talking, chain-smoking, misogynist advertising executives on “Mad Men” is a group of women writers, a rarity in Hollywood television. Seven of the nine members of the writing team are women. Women directed five of the 13 episodes in the third season. The writers, led by the show’s creator Matthew Weiner, are drawing on their experiences and perspectives to create the show’s heady mix: a world where the men are in control and the women are more complex than they seem, or than the male characters realize.

In the fictional Madison Avenue advertising agency Sterling Cooper where “Mad Men” is set, male executives gulp down vodka on the rocks and ogle their neatly coiffed secretaries. Early in the series agency partner Roger Sterling tries to cheer up creative director Don Draper by assuring him that “When God closes a door, he opens a dress.” In response to a question about what women want, Roger replies “Who cares?”

The story centers on Don Draper and his shadowy past, but a key part of the series, the writers say, is its complicated female characters. “It’s less skewed than it appears,” says consulting producer Maria Jacquemetton, who is married to fellow writer Mr. Jacquemetton.

Sultry office manager Joan Holloway, played by Christina Hendricks, for example, excels at a script-reading job in the agency’s television department, but must gently step aside when a less-qualified man takes over. Peggy Olson, a secretary played by Elisabeth Moss, works her way up to copywriter and eventually lands her own office and secretary but only after she becomes pregnant and gains weight. “Part of it was her becoming a guy. She was putting on a suit of armor to protect herself sexually and because of that she could begin operating as a man,” Mr. Weiner says.

The writers owe much of their freedom to create an elaborate, stylized show to changes in the television industry. “Mad Men” is benefitting from new television-viewing habits: while many viewers tune in to watch original episodes, the show relies heavily on DVDs, downloads and video-on-demand services. Despite acclaim—it was the first basic-cable series to win an Emmy award for best drama and is nominated for 16 Emmys this year—it averaged just 1.5 million viewers per new episode at 10 p.m. last season. That was a 63% increase from its first season audience. More than 30 million viewers saw the show last year on downloads, video-on-demand services and all broadcasts, including repeat broadcasts the same night as original episodes, AMC says. That doesn’t include DVD sales of season two which came out last month and are expected to exceed $18 million in the first six months. It was the first original scripted drama series on basic cable channel AMC, formerly known as American Movie Classics, which had largely showed reruns of classic films.

Mr. Weiner says he didn’t set out to hire female writers. That said, he likes what he describes as the writers’ emotional honesty. It influences the freewheeling nature of the writers’ room, he says.

“A lot of people think women can only do women shows,” says Jennifer Getzinger, who started as a “Mad Men” script supervisor and is now a director.

According to the Directors Guild of America, the labor union that represents film and television directors, about 13% of its 8,000 directors are female. Women comprised 23% of television writers during the 2007 to 2008 prime-time season, a 12 percentage point decrease from the same period a year earlier. Nearly 80% of TV programs in the 2007 to 2008 prime-time season had no women writers, according to a study by Martha Lauzen, executive director of the Center for the Study of Women in Television and Film at San Diego State University.

Twelve weeks before production begins, the writers meet at the Los Angeles Center Studios each day. They plot out the season based on Mr. Weiner’s instructions for the narrative arc of each character. In a trick he picked up while working on HBO’s “The Sopranos,” Mr. Weiner has writers cut up an outline of an episode with scissors and tape sections to a tabletop to map out an episode. After a few days, the tabletop and dry-erase boards on the walls of the writers’ room are covered in sticky notes, index cards and slivers of the outline. A script for a one-hour episode can take as long as a month to complete and includes such details as whether Draper is sweating and instructions for extras in the background.

A large portion of the plot in season two revolved around January Jones’s Betty Draper, Draper’s collegeeducated wife who despises her husband’s infidelities and her life as a housewife but doesn’t know what else she can do. The second season ended with Betty discovering she is pregnant with a third child.

“Betty is in an existential hell,” says actor John Slattery who plays Roger Sterling. “How do you ever recover from that?”

Mr. Weiner is fanatic about keeping details about the upcoming season secret and preventing spoilers from leaking out online. Each page of any script writers take home at night has their name and contact information on it. The next morning writers must bring back their scripts and shred them right away.

Cast members say that in the third season the Sterling Cooper denizens confront homophobia, sexism and racism. “We’re at the point where everything starts to happen,” says lead actor Jon Hamm who plays Don Draper. “Things are evolving and changing and some characters embrace it and some fight it.”

Some of the writers are alumni of TV shows like “Grey’s Anatomy” or came up the ages-old Hollywood path of working as an assistant to a producer or director. Kater Gordon, 27, for example, had worked for executive producer Scott Hornbacher and was baby sitting Mr. Weiner’s four sons. After the kids went to bed, she watched Emmy screeners and impressed Mr. Weiner with her opinions. Ms. Gordon started as Mr. Weiner’s assistant on season one and was soon promoted to writer’s assistant and then to staff writer on season three.

Actor January Jones poses as Betty Draper, a character who turns out to have more sides than initially seen.

To get in the “Mad Men” mood, Mr. Weiner’s office has a 1960s feel, with a vintage black leather chair paired with a mismatched emerald green vinyl footstool. He has a small bookshelf filled with research like John Cheever’s short stories among other books and a fully stocked bar with a sign: “If whisky interferes with your business, give up your business.”

Mr. Weiner once stopped a scene in season one and asked the props department to find smaller apples to fill a bowl because fruit was smaller in the 1960s. He asks actresses not to have toned arms or porcelain veneer teeth and directors say he requires that actors whose characters smoke (and most of them do) have also smoked in real life.

Mr. Weiner suggests the writers read books such as Helen Gurley Brown’s “Sex and the Single Girl,” Jack Olsen’s “The Girls in the Office,” a chronicle of single women working in a Manhattan office and watch movies like the 1960 film “The Apartment,” staring Jack Lemmon and Shirley MacLaine.

One writer, Dahvi Waller remembered that her parents had exchanged love letters during the 1960s. “I said ‘Mom, it’s research, you have to find these letters and send them to me,’” Ms. Waller says. “I told her she could mark out anything that was too tawdry.”

In the premiere of season three, Salvatore Romano, played by Bryan Batt, and Don Draper, played by Jon Hamm, meet up with two flight attendants on a business trip.

A scene in the first season when Betty shocks the neighbors by shooting pigeons with a BB gun in the front yard comes from Ms. Veith’s memory of her own mother. “I know more about my mom than I ever have in my entire life,” she says.

Ms. Albert’s parents’ financial problems inspired a similar story in the second season when Pete Campbell discovers after his father’s death that he had squandered the family fortune. Ms. Jacquemetton’s struggles with infertility and adoption led to a storyline between Pete and his wife Trudy’s fertility problems.

Last week, at the Los Angeles Center Studios on the set of the Sterling Cooper office, co-producer Ms. Waller talked to director Mr. Hornbacher as he prepared to shoot a tense scene between Don Draper, Roger Sterling and closeted gay art director Salvatore Romano that Ms. Waller co-wrote. Actresses with up-dos and floral blouses tucked into A-line skirts held herbal cigarettes. An ashtray on the receptionist’s desk brimmed with cigarette butts stained with pink lipstick.

Ms. Waller says she tries to keep a 1960s mentality in her writing. Last season office manager Joan Holloway’s seemingly perfect fiancé raped her on the floor of an office at Sterling Cooper, and “I wanted her to get revenge in the third season,” Ms. Waller says. “I didn’t even propose it. There’s no way that would’ve gone over.” </font> </span>

<span style="font-size:7.5pt;"><b><font face="Tahoma">Write to Amy Chozick at [email protected]

http://online.wsj.com/article/SB10001424052970204908604574332284143366134.html#printMode</font></b></span></p>

Edited August 7, 200916 yr by Sylph

August 16th.

My birthday!

Very excited about the third season and decided to read the forever popular Fountainhead this summer. I'm quite certain it will only make the third season that more interesting. Has anyone read this book?

Will always hate Don Draper's wife played by January Jones; and her little sleazy life out on the town wasn't endearing in the least.

 

‘Mad Men’ Strains to Stay as Button-Down as Ever

By ALESSANDRA STANLEY

Retrospective winks at past ignorance are what makes “Mad Men” so funny and, at times, so chilling.

“Mad Men” mocks and celebrates forbidden vices, the drinking, smoking and promiscuity that in the advertising business of the 1960s flowed heedlessly, without health warnings or the sour taint of political incorrectness. From the start, the show has mined hindsight for wicked humor: a child playing dangerously with a dry-cleaning bag is chided only for messing up the clothes inside; a pastoral family picnic ends with the mom tossing the entire basket of trash onto lush, pristine park grounds; the presidential candidate Richard M. Nixon is marketed as a young, handsome Navy hero.

Even more than in the first two years, this new season, which begins on Sunday on AMC, stresses the less amusing side of that innocence, leading viewers to look back, aghast at, and enthralled by, a world so familiar and so primitive. Characters on “Mad Men” struggle in shame and secrecy with the very things that today are openly, incessantly boasted and blogged about: humble roots, broken homes, homosexuality, unwed motherhood, caring for senile parents.

In the early ’60s space was for conquest; the social order was overripe for exploration. And in this age before chat rooms, support groups, confessional talk shows, self-help books and 24-hour hot lines became commonplace, each crisis, from the Cuban missile to the midlife, seems encountered as if for the first time, uncharted and befogged by bewilderment and fear.

It’s not just that everyone has a secret; each character feels so alone in guarding it.

The first episode begins with the show’s star ad man, Don Draper (Jon Hamm), at a stove, heating milk, wrapped in a plaid bathrobe and haunting memories he tried to smother long ago. Staring into the darkness, Don conjures scenes of the sordid, poverty-stricken way he came into the world, images accompanied by faint, sad strains of “My Old Kentucky Home.”

Those first fugues into Don’s hidden past are not the most inviting way into a new season, however. “Mad Men” is essentially one long flashback, an artfully imagined historic re-enactment of an era when America was a soaring superpower feeling its first shivers of mortality.

In contrast, Don’s daydreams about his deprived childhood seem incongruous and hokey — less a look into his psyche than a re-creation of a comedy skit from vintage programs like “The Garry Moore Show.” Only when the camera returns to the offices of the Sterling Cooper advertising agency are things right — and deliciously wrong — in this mad world.

A British company bought the agency at the end of Season 2, and now Don and his colleagues are supervised by Lane Pryce (Jared Harris), a supercilious financial officer from the London headquarters, and his insufferably pompous male secretary, John Hooker (Ryan Cartwright), nicknamed “Moneypenny” by his American co-workers.

Peggy (Elisabeth Moss) has risen to copywriter but still can’t command the respect of her own secretary, who ignores her boss and instead moons over John’s clipped British accent. “I could listen to him read the phone book,” she says dreamily to Peggy.

“Well,” Peggy snaps. “When he gets to S, I need Howard Sullivan at Lever Brothers.”

The show’s period clothes, cocktails and allusions to Hitchcock, Bob Dylan and Frank O’Hara are no longer new. Neither are the narrative feints that spike suspense by deflecting it — though the trick continues to work. There are still mysteries to even the most closely examined lead characters. Peggy; Joan (Christina Hendricks), the office manager; and even Pete (Vincent Kartheiser), the weaselly account executive, are so familiar, yet they remain enigmatic — protected by a thin, exotic veil of weirdness.

And, most of all, so does Don’s beautiful wife, Betty (January Jones), who is in the last stages of pregnancy with their third child and worried about her increasingly senile father, Gene (Ryan Cutrona). Betty is even more concerned that her brother and his wife have designs on their father’s property.

Don, an incorrigibly unfaithful husband but a loyal spouse, decides that the old man can live with them. Gene repays the hospitality by instructing his granddaughter to read aloud to him from Gibbon’s history of the fall of the Roman Empire. When Don comes home, Gene asks acidly, “How’s Babylon?”

Gene’s generation, forged by the Depression and Prohibition, finds an unlikely ally in youth, the would-be beatniks who despise their parents’ conformity and decadent consumerism and yearn for change. At Sterling Cooper change comes slowly and ambivalently; some ad men smoke marijuana and quote T. S. Eliot while fretting about nuclear war; others drink and dance the jitterbug at a Derby party at a segregated country club. Don Draper smoothly works in both worlds and belongs to neither.

At this moment in 1963, John F. Kennedy is still president; the most imminent threat of mutually assured destruction has ebbed; and Don is still restless, knowing and unknowable.

Over dinner, an eager stewardess chirps to Don about her travels. His reply is typically inscrutable. “I keep going to a lot of places and ending up somewhere I’ve already been,” he says.

It’s the third season, and we still want to go with him.

MAD MEN

AMC, Sunday nights at 10, Eastern and Pacific times; 9, Central time.

Created and written by Matthew Weiner; directed by Phil Abraham; Mr. Weiner and Scott Hornbacher, executive producers; Lisa Albert, supervising producer; Dahvi Waller, co-producer; Dwayne Shattuck and Blake McCormick, producers. Produced by Lionsgate.

WITH: Jon Hamm (Donald Draper), January Jones (Betty Draper), Vincent Kartheiser (Peter Campbell), Elisabeth Moss (Peggy Olson), Christina Hendricks (Joan Holloway), John Slattery (Roger Sterling), Jared Harris (Lane Pryce), Ryan Cartwright (John Hooker), Bryan Batt (Salvatore Romano), Michael Gladis (Paul Kinsey), Ryan Cutrona (Gene Driscoll), Aaron Staton (Ken Cosgrove), Rich Sommer (Harry Crane) and Robert Morse (Bertram Cooper).

 

Season 3 premiere of 'Mad Men' has critics raving

Mad Men Season 3 Jon Hamm Emmy Awards Entertainment News 2468097 "Mad Men" was crowned best drama series at last year's Emmy Awards for its freshman season. The stylized show about advertising also took home another five Emmys, including a writing award for "Mad Men" creator Matthew Weiner.

"Mad Men" contends at the upcoming Emmy Awards with 16 nominations including best series as well as nods for lead performers Jon Hamm and Elisabeth Moss and supporting player John Slattery.

Smack dab in the middle of Emmy voting, Season 3 of "Mad Men" premieres Sunday night on AMC. This strategy of showcasing new episodes of a series while Emmy voters judge old ones worked well for HBO with summertime smashes like "Sex and the City."

Reviewing the Season 3 opener of "Mad Men," the critics continue to be enthusiastic about this look back at the seemingly oh-so-cool world of the early 1960s.

For Alessandra Stanley of the New York Times, "this new season stresses the less amusing side of that innocence, leading viewers to look back, aghast at, and enthralled by, a world so familiar and so primitive."

Said Robert Lloyd of the Los Angeles Times, "This is a moral drama, a show about deciding who you are and who you want to be, of character as the sum of small choices. There are no heroes or villains here, only people working out or being carried toward their individual destinies. And in who we root for and in what we root for them to choose, we also define ourselves."

Robert Bianco of USA Today thought, "The show gets off to a running start, with each of the major characters forced to confront some personal or professional shift, some of which you've seen coming, and some you haven't." Tim Goodman of the San Francisco Chronicle said, "what the series traffics in with astute complexity is the troubling notion of self, of identity, of rootless, undefined purpose and unrealized happiness." And for Alan Sepinwall of the Newark Star-Ledger, "The hour offers up office intrigue, romantic complications and a classic Don Draper pitch, not to mention the usual brilliant acting from all involved."

All the buzz surrounding the third-season premiere of Mad Men has apparently paid off: The critically acclaimed AMC series drew its biggest audience ever.

Sunday's episode was watched by 2.8 million viewers, a 33 percent increase from last season's premiere, according to The Hollywood Reporter. When factoring in repeat airings, nearly 4 million viewers saw the premiere, a 29 percent bump from the cumulative total a year ago.

The show's numbers increased most dramatically among adults 18-49. That demo accounted for 1.2 million of the total viewers, a 71 percent jump from a year ago.

Looks like business is good at Sterling Cooper.

Did you watch the premiere? Are you glad that the show's audience is growing?

They showed the premiere in Time Square on Sunday night and gave out prizes and refreshments. This is on top of all the promotions done around the city. The PR person should've been proud because people had a good time (even if you had to go home and watch it again later that night).

I can't say I loved the season premiere. There were alot of great things but I'm looking forward to a few gaps/ holes being filled as the season progresses.

Mad Men is getting a 4th season:

http://www.tvguide.com/News/Mad-Men-Renewed-1009376.aspx

So has SON love for this show fizzled out?

Anyway:

AFTER three seasons, “Mad Men,” the television series about advertising in the 1960s, has attained a level of popular-culture cachet. There have been magazine cover articles, calendars and an episode of “The Oprah Winfrey Show” all devoted to it, spoofs on “The Simpsons” and “Saturday Night Live,” and even a “Mad Men” category on “Jeopardy.”

Soon, the show will enter a realm of the pop-culture pantheon that its creator, Matthew Weiner, says has surprised even him: Mattel plans to bring out versions of Barbie and Ken styled after four “Mad Men” characters.

The dolls are part of a premium-price collectors’ series for adults that Mattel calls the Barbie Fashion Model Collection. Although there have been Barbies and Kens based on other TV series, among them “I Love Lucy” and “The X-Files,” the dolls will be the first licensed line for that collection, Mattel says, with a suggested retail price of $74.95 each.

Mattel is licensing rights to the characters from Lionsgate, the studio that produces “Mad Men” for the AMC cable channel. There will be 7,000 to 10,000 copies of each doll, to be sold in specialty stores and on two Web sites, amctv.com and barbiecollector.com.

The characters to become dolls are Don Draper, the show’s leading man; his wife, Betty; his colleague at the Sterling Cooper agency, Roger Sterling; and Joan Holloway, the agency’s office manager who was Roger’s mistress.

That two dolls represent a relationship outside wedlock, and Don Draper’s propensity for adultery, may be firsts for the Barbie world since the brand’s introduction five decades ago. But for the sake of the Barbie image, her immersion in the “Mad Men” era will go only so far: The dolls come with period accessories like hats, overcoats, pearls and padded undergarments, but no cigarettes, ashtrays, martini glasses or cocktail shakers.

•

“The dolls, we feel, do a great job of embodying the series,” said Stephanie Cota, senior vice president for Barbie marketing at Mattel in El Segundo, Calif. “Certain things are appropriate, and certain things aren’t.”

The dolls are emblematic of the interplay between entertainment and marketing, which is intensifying as consumers become harder to reach through traditional means like commercials.

“The overall revenue isn’t the issue in a licensing deal like this,” said Ira Mayer, publisher of The Licensing Letter, a newsletter for the licensing industry owned by EPM Communications. Rather, he said, the goal is the additional exposure, to help build “longevity” for the “Mad Men” brand.

“It’s certainly great exposure,” he added, “for both sides.”

The pairing of Barbie and “Mad Men” is more interesting than the typical licensing agreement because of their shared history. Barbie was introduced in March 1959, and the first episode of “Mad Men” is set in March 1960.

“ ‘Mad Men’ represents so beautifully the universe that created Barbie,” said Robert Thompson, professor of television and popular culture at Syracuse University, because the series is about the selling of the American consumer society.

The personification of Betty Draper as Barbie is particularly resonant, Mr. Thompson said, because she represents “the wife who lives in her dream house whose soul is eaten away.”

“I have this fantasy of an 8-year-old getting a set” of the dolls, he added, “and saying: ‘Mom, can Chelsea come over? We want to play “The Man in the Gray Flannel Suit.” I’m going to be the organization man, and she’s going to be the soulless drone.’ ”

Such considerations were, of course, not driving the executives of Mattel and Lionsgate to make the deal. Rather, the arrival of the dolls, scheduled for July, will help promote the fourth season of “Mad Men,” which is to begin that month on AMC.

And postcards bearing sketches of the dolls by the Barbie designer Robert Best, which were used to produce the final versions, will be included in the DVD and Blu-ray boxed sets of the third season, scheduled for release on March 23.

“Mad Men” is “not an easy show to promote,” said Kevin Beggs, president for television programming and production at Lionsgate in Santa Monica, Calif. “It’s not ‘Cougar Town’ or ‘Desperate Housewives,’ where you get it in one line.”

As a result, Mr. Beggs said, Lionsgate and AMC are seeking nontraditional methods to stimulate viewership. Other such efforts include suits inspired by the series sold at Brooks Brothers and a promotion that advertised the show in windows of Banana Republic stores.

As for fears that “Mad Men” could be devalued by too much kitschy merchandise, Lionsgate “is fairly restrained,” Mr. Beggs said, promising that “no sharks will be jumped” — the TV term for a series that self-destructs through overreaching.

Charlie Collier, president and general manager at AMC in New York, part of Cablevision Systems, said the goal was to “do things in a way that is appropriate for ‘Mad Men,’ high quality and sophisticated.” Any idea must survive the scrutiny of Mr. Weiner, he added, who in addition to creating the series is also executive producer and head writer.

Mr. Weiner acknowledged saying no to “a lot of” bad proposals for licensed products because, he said, he does not “want the show to be exploited.”

•

The dolls are “a realization of a fantasy, in a weird way,” Mr. Weiner said, because “on some level it’s such a measure of success to see your characters embodied by Barbie.”

“Anybody who likes the show for its attention to detail will get that from the dolls,” he added, which earned approval from him; Janie Bryant, the costume designer for “Mad Men”; and Scott Hornbacher, an executive producer.

As an example of their scrutiny, Mr. Weiner said he told Mattel that the sideburns on the Don Draper doll needed “to be higher” and the haircut needed “to be tighter.”

The deal also provided Mr. Weiner with a moment evocative of the Rosebud revelation in “Citizen Kane.”

“I grew up with two older sisters and lots of Barbies in the house,” he recalled, including “a doll named Midge,” a pal of Barbie’s. In retrospect, he said, she may have been the inspiration for Midge Daniels, a mistress of Don Draper’s in Season One.

http://www.nytimes.com/2010/03/10/business/media/10adco.html?ref=television

I think it has more to do with the fact we're between seasons...

I love that they fittingly used the 50s/60s Barbie faces.

<span style="font-size:10.5pt;"> AMC has set a return date for its Emmy-winning series "Mad Men," as well as a debut for its latest drama "Rubicon."

Season 4 of "Mad Men" will bow on Sunday, July 25, at 10 p.m., answering fans' burning questions from last season's cliffhanger finale. With the disbanding of Sterling Cooper and splitting up of the Drapers, the upcoming premiere will play like a whole new pilot for the show, re-setting the drama.

Having scored with its first two drama series, "Mad Men" and "Breaking Bad," AMC has high hopes for its third drama entry into scripted one-hours -- "Rubicon," which premieres on Sunday, Aug. 1 at 8 p.m.

"Rubicon" is a conspiracy thriller set in a New York City-based government intelligence agency. The Warner Horizon series stars James Badge Dale ("The Pacific") and Oscar-nominated actress Miranda Richardson.

Over the weekend, "Mad Men" showrunner Matthew Weiner seemed to suggest in an interview that his 1960s period drama would end after six seasons.

In response to the coverage, an AMC spokesperson said, "No one wants to see Don Draper wearing a leisure suit. We trust Matthew's vision and that he knows where to take the show. But with that said, 'M*A*S*H' figured how to stretch the Korean War for more than a decade, so stay tuned."

http://www.hollywoodreporter.com/hr/content_display/news/e3iffccd69245ce8f7514ff97ed705accfc</span>

Edited April 21, 201015 yr by Sylph

Jon Hamm was on the cover of GQ UK:

http://www.gq-magazine.co.uk/magazine

Jon Hamm was on the cover of GQ UK:

http://www.gq-magazine.co.uk/magazine

Dashing.