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But I’ve never wanted to punch a door!” She points out that expectations of women to be the emotional workhorses of social situations are so high, and autistic women learn to camouflage their symptoms to such a degree, that autism in women and girls was once thought to be an impossibility.
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Gadsby also notes the intentional medicalisation of women’s emotional range: “Sure, I may nibble on a bit of dark chocolate on a full moon. She describes the “meltdown” that autistic people experience with complete sensory overload, often dismissed as a “tantrum”, but in reality anything but. She notes that she now has to pay people to touch her, despite the discomfort it causes her: a stylist, a tailor, a hairdresser. Having spent considerable time introducing the sensory sensitivity associated with autism, Gadsby later explains that the sudden flashing of light in the audience is very distracting. I started that conversation.” Formally, if Douglas is about anything, it is about recreating comedy as Gadsby’s safe, comfortable space.ĭouglas begins with phones being taken away from audience members and locked into magnetic pouches. While performing Douglas, Gadsby talks about the emotional toll of spending two years touring a show about trauma.
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After all, Nanette’s great success made her think that her best move would be to showcase her comedic craft “ instead of trying to learn a whole new skill set”.
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Gadsby has spoken at length about not wanting to be seen as a non-funny comedian, or to quit comedy altogether (even though quitting was the premise of Nanette). Gadsby takes time to talk about her last show, her last tour, what she has learned – all that ordinary stuff local comedians do at every Melbourne Comedy Festival. It is funny throughout, it has those rehearsed non-sequiturs that move the narration forward, and its progression is linear rather than exponential in the way of Nanette. How Gadsby weathered being thrust into Hollywood is a good question, but Douglas reads like a direct response to that experience, and an act of considered self-care.Īs a comedy show, Douglas is in some ways deliberately very normal. In fact, she tells us in Douglas that the show came directly out of that diagnosis: “I found a name for how I experienced the world.” Gadsby’s comedic voice changed with Nanette there, she spoke with the newfound confidence of someone who has come to understand themselves, someone who no longer seeks to belong to clubs that wouldn’t have them.
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Join Jon each week as he asks us to put down our screens, grab our headphones, and figure out how to live happier, healthier lives, both on and offline.Gadsby was diagnosed with autism in the years leading up to Nanette. In the coming months, Jon will dig deeper into the internet abyss and beyond, exploring new topics with new guests from the worlds of news, politics, entertainment, sports, business, and more. After more than a dozen conversations with guests like Stephen Colbert, Monica Lewinsky, Jia Tolentino, and Roxane Gay, it’s clear that people want these conversations to continue – that they’re interested in figuring out how we can regain control over our chaotic, hyperconnected world.
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Offline with Jon Favreau is a different kind of Sunday show – a chance to step away from our Twitter-fueled news cycles to hear smarter, lighter conversations about all the ways that our extremely online existence is shaping everything from politics and culture to the how we live, work, and interact with one another.