Douglas

Hannah Gadsby opens by laying out a literal blueprint for the next hour, explaining exactly when they will tell an observational joke, when they will bait their critics, and when they will show a slide presentation of Renaissance art. It is a highly deliberate meta-comedy move designed to set, and then toy with, the audience’s expectations. After the massive success of their 2018 special Nanette, Gadsby used this follow-up show to step back from the heavy emotional toll of that material and address life after sudden global fame.

Filmed at the Theatre at Ace Hotel in Los Angeles and released on Netflix in May 2020, the set is named after one of Gadsby’s dogs, which was itself named after the Pouch of Douglas, a pelvic cavity named by an 18th-century male physician. This piece of anatomy serves as a jumping-off point for a broader examination of the historical patriarchy’s habit of naming and defining everything.

Much of the material centers on Gadsby’s late-in-life autism diagnosis. They use anecdotes, including an awkward encounter at a dog park, to contrast autistic communication styles with neurotypical expectations. The show’s climax features a dry, rapid-fire art history lecture analyzing the bizarre choices made by High Renaissance painters, complete with a slideshow. Critics praised the set’s precise construction, though some noted that the self-referential prologue lessened the element of surprise compared to live performances.