{"id":2793,"date":"2016-04-27T16:09:07","date_gmt":"2016-04-27T10:39:07","guid":{"rendered":"http:\/\/13.201.39.237\/?p=2793"},"modified":"2026-07-17T20:13:34","modified_gmt":"2026-07-17T14:43:34","slug":"nanette-netflix-hannah-gadsby-comedy-metoo","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=2793","title":{"rendered":"Nanette: Hannah Gadsby\u2019s Angry Anti-Comedy is Perfect For the Age of #MeToo"},"content":{"rendered":"\n

A<\/span><\/p><\/div>

t one point in Nanette<\/i>, a Netflix \u201ccomedy\u201d special, Hannah Gadsby makes a plucky proclamation: \u201cI have a responsibility to make you laugh<\/a>. But I\u2019m not in the mood.\u201d\n\nLike me, the audience in her special laughed uncomfortably in unison \u2013 craving another punchline, hoping her announcement was a part of a gag. Except, the 40-year-old Australian <\/a>comic stuck to her word, unrelenting in her disinterest to defuse the building tension in the room.\n\nGadsby managed something very few comedians have: She reclaimed her authority over laughter.\n\nNot everyday does a comedian refuse to be held hostage to the audience\u2019s validation; a comedian who changes the narrative by mounting a ferocious attack on comedy itself. In her hour-long special that is both comedy <\/a>and anti-comedy, Gadsby deftly deconstructs the hypocrisy of a joke. \u201cA joke is a question, artificially inseminated with tension. I make you all tense and then I cure it with a laugh,\u201d she confesses. She delves into how, for a joke to elicit laughter, it has to be stripped of all its context.\n\nAs a result, an audience only gets to hear the beginning and the comic middle of the story that is designed as a punchline. The structure of comedy forces jokes to only be a two-act medium. Every comedian, yearning for continuous, urgent laughter from the audience, unblinkingly sacrifices the third act of their story at the altar of their material. Like Gadsby, they mine their lives and their pain to present an abrupt, dishonest anecdote that is packaged as a joke. \u201cThis is an abusive relationship<\/a>,\u201d she declares, forcing her burgeoning audience to acknowledge the question she is hellbent on posing: What is the damn point of manipulative comedy?\n\nFor effect, Gadsby illustrates the joke that she cracks about her mother\u2019s reaction to her coming-out moment where she equates lesbians with murderers. It always guarantees laughter, the comedian insists. But to her, that\u2019s no longer a priority. What bothers Gadsby much more is the fact that the joke allows no room <\/a>for her mother\u2019s apology, which actually<\/i> caps off her coming out. In her story, her mother\u2019s retort is barely another line. But, in her joke, it\u2019s reduced to the punchline.\n\n

Gadsby\u2019s angry breakdown of comedy and its prohibition of context also extends to her incisive takedown of society\u2019s obsession with the same.<\/p><\/blockquote> \n\nIt\u2019s what made her swear off self-deprecating humour. For most comedians, mocking their vulnerabilities for a joke <\/a>usually comes without any consequences. For someone living in the margins like Gadsby, it\u2019s debilitating her own identity for laughter. \u201cIt is not humility. It is humiliation,\u201d she asserts.\n\nIt\u2019s also why she has decided to quit comedy.\n\nGadsby\u2019s angry breakdown of comedy and its prohibition of context also extends to her incisive takedown of society\u2019s obsession with the same. It\u2019s what prompts people to romanticise Vincent Van Gogh\u2019s<\/a> mental illness and instead focus on the sunflowers. It\u2019s what\u2019s promotes a culture of public worship of men like Roman Polanski, Bill Cosby, Pablo Picasso who create art that survives on the abuse of women \u2013 but are still afforded the luxury of separating their art from their abuse. It\u2019s this lack of context that allows art history to be dominated by male artists \u201cpainting flesh vases for their dick flowers\u201d and still be revered for it.\n\n\"hannah\n

\n

At a time when a dime-a-dozen comedy specials are busy milking laughs from the eccentricities and accents of people who are different than us, Gadsby forces us to embrace that very difference. <\/p>\n

Image Credits: ENews<\/p>\n<\/figcaption>\n<\/figure>\n\nTake me for instance. While watching an episode of National Geographic\u2019s Picasso <\/i>a few months ago, I\u2019d unquestioningly digested the disturbing fact that Picasso needed to make a nude painting of his 13-year-old adopted daughter <\/a>to be inspired. As shocking as this sounds, Gadsby\u2019s Nanette<\/i> helped me put things in perspective. How did we let a man who abused a 13-year-old come to be labelled a genius? Throughout history, and even now, all of us have been guilty of excusing abuse for the sake of the reputation of powerful men. Instead, we make the victims, like Monica Lewinsky, the big fat joke.\n\nMaybe that\u2019s why Nanette<\/i> is drawing the same reviews everywhere \u2013 viewers have described it as powerful and incredibly moving. It\u2019s because Gadsby offers up her anger and pain on a plate, and refuses to lace it with laughter<\/a>. It\u2019s because her raw honesty is undoubtedly rare in this artifice of the comedy industry. It\u2019s because by dissecting the purpose of a joke, questioning the narrative we adhere to, and the futility of comedy as a balm for trauma itself, Gadsby forces us to acknowledge our own misgivings. That\u2019s not to say that Nannette<\/i> isn\u2019t funny.\n\nAt a time when a dime-a-dozen comedy specials are busy milking laughs from the eccentricities and accents of people who are different than us, Gadsby forces us to embrace that very difference. Her whole special is underlined by one pertinent thought: What\u2019s the point of comedy <\/a>that is unwilling to accommodate stories if they aren\u2019t accompanied by jokes?\n\n\u201cStories hold our cure,\u201d she reiterates, and ensures that the art of storytelling gets its fair limelight on the stage. It\u2019s as much the #MeToo of comedy, as it is the comedy of #MeToo. It\u2019s comedy that forces us to decide \u2013 Should we live in a society that paints Picasso as a genius or one that paints him as a lesson? That joke, unfortunately, is on us.\n","protected":false},"excerpt":{"rendered":"

In Nanette, Hannah Gadsby offers up her anger and pain on a plate and refuses to lace it with laughter. She deconstructs the hypocrisy of a joke and the manipulation of comedy. But, most importantly, she disallows a comedy special to reduce her life to a punchline.<\/p>\n","protected":false},"author":109,"featured_media":2796,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[2588,542,5672,1700,5673,5674,1341,5675,5676,5677,3557,5678],"class_list":["post-2793","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-metoo","tag-comedy","tag-gadsby","tag-hannah","tag-laugh","tag-nanette","tag-netflix","tag-polanski","tag-roman","tag-special","tag-van-gogh","tag-vincent"],"yoast_head":"\nNanette: Hannah Gadsby\u2019s Angry Anti-Comedy is Perfect For the Age of #MeToo<\/title>\n<meta name=\"description\" content=\"In Nanette, Hannah Gadsby offers up her anger and pain on a plate and refuses to lace it with laughter. She deconstructs the hypocrisy of a joke and the manipulation of comedy. 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