“I’ve dragged you through a bit of my shit over the years,” the comic explains, “and you’ve stuck with me.” For our reward, Something Special offers “a bit of ta-da.” Yes, the world is terrifying, but Gadsby doesn’t feel equipped to shovel us out of our rut: “For the next hour, we’re gonna feel good together, and then we can head back out there and be the mass-extinction event that we are.” Strolling out to “Birdhouse in Your Soul,” alt-rock duo They Might Be Giants’ 1990 celebration of the quiet, reliable glow of a nightlight, Gadsby immediately flashes a ring: “I got married!” If you were looking for more of the caustic social commentary of the last two specials, circle back to the last two specials. There’s no knowing, triumphant introduction imparting on the viewer the sense that someone had to be made a little uncomfortable in order for this thing even to come into existence, like April’s My Name Is Mo’Nique, the uplifting conclusion to a protracted legal battle with Netflix over fair pay for women. None of this comes up in Something Special, Gadsby’s third Netflix hour filmed at the Sydney Opera House in Australia, same as Nanette. Did Gadsby, a genderqueer lesbian comic who now uses they/them pronouns, turn the screws, advising the Netflix man to put his money where his mouth is and fork out funding for a wider raft for marginalized comics? And what did the comedian make of Chappelle’s clapback on Instagram? “You must admit that Hannah Gadsby is not funny,” he said in a clip from his 2021 arena tour advising the trans community of his conditions for peace talks. “You didn’t pay me nearly enough to deal with the real world consequences of the hate speech dog whistling you refuse to acknowledge, Ted.”Ī year later, Gadsby struck a multi-title deal with Netflix to share the follow-up to Douglas and produce and host a second special featuring an international cast of gender-diverse comics. “Now I have to deal with even more of the hate and anger that Dave Chappelle’s fans like to unleash on me every time Dave gets 20 million dollars to process his emotionally stunted partial worldview,” Gadsby’s note retorted. It’s humiliation.” It was tacky using Nanette, which features a harrowing account of a gay-bashing, as a shield for fending off criticism about homophobic and transphobic commentary elsewhere in the Netflix roster. This was an affront to Gadsby Nanette was, among a few things, a venting session about trying to find the humor in your own oppression: “Do you understand what self-deprecation means when it comes from somebody who already exists in the margins? It’s not humility. Sarandos’s frosty, dismissive memo addressing the internal and external backlash for the divisive commentary on queer and trans people in Chappelle’s 2020 special The Closer name-checked both Gadsby and Chappelle to highlight its commitment to diversity after asserting “a strong belief that content onscreen doesn’t directly translate to real-world harm.” In 2021, Hannah Gadsby posted a scathing message on Instagram for Netflix CEO Ted Sarandos: “Fuck you and your amoral algorithm cult.” The streamer, which released the Australian comic’s groundbreaking 2018 special Nanette and incisive 2020 follow-up Douglas, had just been accused of signal boosting hate speech in the fallout from Dave Chappelle’s cold war with the LGBTQ community.
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