If you were unaware of Hannah Gadsby before her groundbreaking Netflix special, ‘Nanette’, you’re not alone. However, if you still remain unfamiliar with her, you must truly be living under a rock. This Australian comedian, writer, and actress has released her latest special, ‘Douglas’, now available on Netflix. I don’t often insist on things (aside from the continual pursuit of self-awareness and the enhancement of emotional intelligence while examining implicit biases), but I implore you to watch Gadsby’s latest performance.
In ‘Douglas’, Gadsby acknowledges the weightiness of ‘Nanette’ by humorously describing it as “a particular show of a particular flavor.” While ‘Douglas’ maintains a lighter, more playful tone, it remains just as impactful as the performance that catapulted her into the American comedy scene.
Gadsby kicks off the show with a 14-minute “prelude” that she claims is separate from the actual performance. In this segment, she outlines, bullet point by bullet point, what to expect and how she anticipates the audience will react. She mentions she’ll share jokes, deliver lectures, confront misogyny and patriarchy, address anti-vaxxers, and even lay some “bait” for her critics. Notably, she discloses her autism, which, given her previous revelations, shouldn’t come as a surprise. Remarkably, even with this comprehensive setup, the subsequent 58 minutes still manage to feel fresh, surprising, and undeniably brilliant—perhaps even more so because of her upfront approach.
This lengthy prelude serves as a vital part of the show, although Gadsby never explicitly admits it. The irony of revealing her process while withholding the significance of the prelude illustrates the intricate knot she expertly ties around her audience.
Gadsby’s talent lies in her extraordinary ability to manipulate audience expectations. She delivers impactful punchlines even after warning you they’re coming. It’s akin to telling someone to duck, yet they still end up getting hit.
In ‘Nanette’, she utilized a similar tactic but reserved it for later in the show, where she admitted to misleading the audience about a brutal assault by omitting the traumatic details and infusing the narrative with humor. This tactic allowed her to disarm the audience, making the genuine recounting of the story that followed hit even harder. In ‘Douglas’, she flips this technique on its head, revealing her process and the layers behind her humor, inviting the audience to appreciate the depth of her “jokes.”
What Gadsby achieved with ‘Nanette’ was unprecedented in the comedy realm. She tackled misogyny, homophobia, and trauma in a raw, unfiltered manner that challenged societal norms around humor and pain. She questioned why trauma is often treated lightly, especially by comedians, particularly queer ones, who often self-deprecate and let others profit from their suffering. In this powerful presentation, Gadsby articulated a profound perspective on the human experience.
‘Douglas’ features Gadsby poking fun at Americans, labeled as “culturally confident,” a trait that often leads to ignorance. She observes that America embodies the archetype of the straight white male in cultural contexts. Given the blatant privilege displayed during the COVID-19 pandemic, her critiques ring especially true. The audacity to dismiss public health guidelines and wander maskless, convinced of personal superiority over experts, epitomizes this mindset.
Gadsby cleverly employs Renaissance art and references a little-known female anatomical feature known as the “Douglas pouch” to highlight the absurdity surrounding male fame and reverence compared to women. Men seem to receive accolades and recognition for their bizarre behaviors, while women continue to be overlooked.
She also addresses gender norms, admitting to craving chocolate during hormonal fluctuations, while noting that when men experience similar emotional shifts, they resort to wall-punching. Gadsby doesn’t pose this as a question; rather, she shares a narrative that compels the audience to ponder the disparity. Her examination of deeply ingrained gender perceptions feels simultaneously fresh and enlightening.
However, Gadsby doesn’t let women off the hook. She quips, “My core demographic is rich entitled white women,” and where you find such demographics, you’ll also find anti-vaxxers. In a clever jab at a certain author, she subtly addresses J.K. Rowling as a TERF while using Hermione as a scapegoat. Gadsby cautions anti-vaxxers in the audience against revealing themselves, implying that doing so could result in backlash. While she asserts that vaccines do not cause autism, she poignantly states that even if they did, she would prefer living with autism in a world devoid of polio. “I’m happy to take one for the team,” she concludes.
Gadsby embodies the role of both a cruise director and magician, meticulously orchestrating the audience’s experience. Every word she utters is laden with thought and intention. If you find yourself unexpectedly laughing at your own biases or feeling emotions you didn’t anticipate, then her magic has certainly worked. ‘Douglas’ is her narrative, her life, and we are here to listen. Hannah Gadsby is truly a master of her craft, and one can only hope she continues to captivate us endlessly.
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In summary, Hannah Gadsby’s ‘Douglas’ stands as a testament to her comedic genius, blending humor with poignant social commentary while challenging societal norms, much like her acclaimed special ‘Nanette’.