Hannah Gadsby: Douglas Review: The comedy is feeling the pressure to succeed in following "Nanette"

Hannah Gadsby: Douglas Review: The comedy is feeling the pressure to succeed in following “Nanette”

Australian comedy begins with a summary of the phenomenon that existed “Nanette” – A sad and profound introduction to her life’s experience – flirting about wisdom, taking advantage of hindsight, from exhausting all of that material and detecting trauma in one big big explosion.

Then she proceeds, excitedly, to determine precisely where the last show will go, and how different parts of it will affect the audience. Like “Nanette”, it adds another level to the comedy by allowing the listener to enter its carefully designed outline, like a special effects artist inviting you to her own workshop.

She is bold, or at least she will be, if she doesn’t feel part of a repeat of her previous work. And while there are some very funny parts, smart notes, and yes, personal information spreads along the way, something inevitable may happen with the raw density of its first appearance.

In “Nanette,” which stretches across Netflix’s world by word of mouth, Gadsby notes that her intention was to confront the audience with her story. If that makes you uncomfortable, the letter is gone, take a look in the mirror.

Here, a deeper level of resonance is expected from the private parking average in Gadsby’s act. This is a high bar for scanning.

The estimated audience, in particular, does not seem particularly anxious. From this perspective, “Douglas” is certainly not disappointing, but telegraphic goals – from the anti-vaccine crowd (“polio is bad!”) To Lewis C.K., specifically, to the patriarchy and the wider hatred of women – does not convey the same feeling Taking risks.

The list of comedians who can tackle topics with the thorny Gadsby blend of social commentary and biting intelligence remains a small club, especially if it’s restricted to current practitioners. The unique nature of her voice, like his bottom-to-body lesbians that dealt with the power of distinction, goes beyond just her cute birth.

During the aforementioned introduction, Gadsby deals with her critics, including those who, she said, ridiculed “Nanette” as a “glorious TED talk”.

Douglas may be a lot of things, but it certainly is not. However, it is not the unique experience presented by “Nanette”, which indicates that the most difficult challenge any artist faces after achieving artistic and commercial progress is what must be done in order to appear.

“Hannah Gadsby: Douglas” premiered on May 26 on Netflix.

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