Gadsby, Hannah

Subterms

    Latest story

    125 Shares179 Views

    Ali Wong and Hannah Gadsby Paint Different Portraits of Fame

    by

    Her gossipy portrait of singlehood as a celebrity is a sunny contrast to the darker view of her Netflix stablemate Hannah Gadsby.The last time we saw Ali Wong doing standup, she was delivering an earnest tribute to her husband and their relationship. The final line of “Don Wong,” her 2022 special, went: “And that, single people, is what a healthy marriage looks like.”Later that year, she got divorced.In Hollywood, it’s a tale as old as time. But in stand-up, where the parasocial relationship with fans is more intense than ever, this news lit up group chats and created expectations. What would Wong, who has talked about her husband in three specials, add to the fertile genre of comedy about divorce?Two years after her 2016 breakthrough, “Baby Cobra,” transformed Ali Wong from a veteran but obscure comic into a phenomenon, “Nanette” did the same for Hannah Gadsby. To the extent that Netflix established a reputation for making — as opposed to promoting — stand-up stars, it’s largely because of these two artists, whose new hours present perspectives on fame from such different angles that it almost feels like they’re in conversation.Gadsby, whose superb show, “Woof!,” is currently running at the Abron Arts Center on the Lower East Side, takes a dark view, worrying that success, and specifically money, has had a corrupting influence. Wong’s latest Netflix special, “Single Lady,” is a juicy, aspirational portrait of celebrity singlehood that exudes optimism.Walking onstage to songs from pop divas (Beyoncé for Wong; Madonna for Gadsby) and referring to previous specials, they both aim for thematically coherent productions alert to their reputations. But Gadsby, who uses they/them pronouns, considers and confronts their own brand, presenting their experiences as eccentric. Wong takes the comic tack of teasing generalizations out of her experience. Describing the realization in the middle of a breakup that the experience would make a good joke, Wong quipped: “We turn it into lemonade real fast.”Wearing a flowy white dress, Wong addresses her divorce at the top, saying in a soft voice that she felt “really embarrassed and ashamed.” Embarrassment and shame are fertile comedic territory, but not areas Wong has dug deeply into in the past. She doesn’t here, either, moving quickly to the flip side of a highly public separation: Tabloid coverage, she says, has been a “bat signal” for men.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    More stories

    • 100 Shares119 Views

      in Theater

      ‘Hannah Gadsby: Woof’ Review: A Comic’s Pet Themes

      by

      In a soul-baring new show at the Edinburgh Fringe, the Australian stand-up leans once again into fears, anxieties and mental health worries.The title of Hannah Gadsby’s new stand-up show at the Edinburgh Festival Fringe is “Woof,” but the Australian comic has a very specific type of dog bark in mind. It sounds like something between a burp and a cough. It’s impossible to spell, but if you had to, it might go something like “peuh.” Gadsby says it typically signals that the animal is about to go into a frenzy. As a metaphor for Gadsby’s state of mind, it’s inauspicious. Should we be concerned?Well, yes and no. For the most part, Gadsby’s new routine, at the Underbelly through Aug. 25, is a chill affair. Gadsby is on genial form, taking acerbic pot shots at Taylor Swift (“a can of Coke masquerading as a sorority cult”) and social media (“where neurotypical people go to experience the worst of autism”). There’s some pleasingly risqué material about the sex lives of lesbian soccer players that is too graphic to discuss here.But when the focus turns inward, the vibe shifts. Gadsby describes a sense of discombobulation and a kind of existential vertigo that comes with having achieved fame and fortune relatively late in life.“My bed is so comfortable,” Gadsby says, “and that keeps me up at night.”This is, of course, nothing new — there is always a lot of Hannah Gadsby in a Hannah Gadsby show. “Nanette,” the 2018 Netflix special that catapulted Gadsby from relative obscurity to stardom, drew heavily on harrowing personal experiences of gendered violence. “Douglas” (2020) explored Gadsby’s autism diagnosis. An online run-in with Netflix bosses, over a routine by Dave Chapelle that critics described as transphobic, cemented Gadsby’s status as a culture war lodestar, and inspired the 2024 comedy showcase, “Hannah Gadsby’s Gender Agenda.”The story of that career trajectory is inextricable from the oeuvre itself, making Gadsby something like the Rachel Cusk of comedy. This inevitably brings a certain anxiety about shelf-life, and the specter of demise haunts this set. Gadsby, who uses they/them pronouns, notes that this is their first Fringe appearance in seven years, and playfully suggests that returning to the festival — known for showcasing up-and-comers — is a fall from grace. Later, Gadsby imagines angry Swifties ending their career. “There’s nothing more feminist,” they quip, “than getting canceled by other feminists.”Gadsby also fears they might be too low-key, or too idiosyncratic, to command sustained attention. “I’m not the right person for this success,” they say — but most famous people have felt this way at some point. Besides, that whimsical nature is precisely what people like, and in our increasingly fragmented mass culture it doesn’t really matter if your material doesn’t work for everyone. There are many publics.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 100 Shares149 Views

      in Music

      Brooklyn Academy of Music Plans a Global Season

      by

      The company’s spring offerings include the British choreographer Akram Khan’s “Giselle” and the Australian comedian Hannah Gadsby.After focusing its most recent season on the artists of New York City, the Brooklyn Academy of Music on Monday announced a spring season filled with global offerings, including the New York premiere of the British choreographer Akram Khan’s “Giselle,” a series of shows by the Australian comedian Hannah Gadsby and a production of “Cyrano de Bergerac,” starring James McAvoy.The season will also feature a variety of New York artists, like the contemporary ensemble Bang on a Can and the visual artist Saya Woolfalk, who will present a new digital installation.“It’s local and it’s global,” the academy’s artistic director, David Binder, said of the new season. “There’s an optimism running through it, where artists are reimagining what the world can be.”The academy hopes the offerings will continue to drive its recovery from the coronavirus pandemic. The academy saw relatively robust ticket sales in the fall and winter, with several sold-out performances, Binder said, but is still working to recover from the turmoil of the pandemic, which forced it to suspend performances for more than a year.The spring season opens on March 24 with the New York premiere of “32 Sounds,” an immersive documentary by the filmmaker Sam Green. The film, which was first shown at the Sundance Film Festival in January, is narrated live; audience members wear headphones.Khan’s acclaimed reworking of “Giselle,” which the English National Ballet is bringing to the academy in June, has been widely praised since its premiere in London in 2016. It has since been performed in Auckland, New Zealand, as well as Hong Kong and Dublin.The New York Times called the 2016 production “a beautiful and intelligent remaking of the beloved 1841 classic, and probably — and improbably — the best work Mr. Khan has created.”During four performances at the academy in May, Gadsby, the star of the popular Netflix specials “Douglas” and “Nanette,” will perform “Body of Work,” her latest stand-up show, which explores themes of love and relationships.In April, Jamie Lloyd’s Olivier Award-winning production of “Cyrano de Bergerac” will come to the academy, featuring McAvoy, the “X-Men” star.In addition to “Giselle,” there will be a variety of other dance productions. The 10-member Brazilian dance group Suave will perform “Cria” in March, after its original engagement at the academy last fall was delayed because of visa issues. The German choreographer Sasha Waltz’s “In C” will have its American premiere in April, accompanied by the Bang on a Can All-Stars. The annual DanceAfrica festival returns in May.Binder said even though another surge of the virus was always possible, he was hopeful audiences would turn out for the new season.“I feel very lucky that our audiences are there and up for the adventure, and are ready and are really super engaged,” he said. “People are really ready to come back.” More

    • 125 Shares169 Views

      in Television

      Gadsby and Netflix Employees Pressure Executive Over Dave Chappelle Special

      by

      Tensions at Netflix continued to flare on Friday, 10 days after the release of a special by the comedian Dave Chappelle that critics inside and outside the company have described as promoting bigotry against transgender people.Early on Friday, a Netflix star criticized the company and Ted Sarandos, a co-chief executive, in a stinging social media post. Later in the day, Netflix said it had fired an employee for sharing documents related to Mr. Chappelle with a reporter, and Mr. Sarandos fielded pointed questions from employees during a companywide virtual meeting.In a rare public rebuke, the Australian comedian Hannah Gadsby upbraided Mr. Sarandos by name for his defense of Mr. Chappelle. Ms. Gadsby, whose 2017 Netflix special, “Nanette,” earned an Emmy and a Peabody Award, is the most prominent entertainer to criticize Mr. Sarandos and Netflix, which she referred to in an Instagram post as an “amoral algorithm cult.”Mr. Sarandos and Netflix’s other co-chief, Reed Hastings, have been unwavering in their support of Mr. Chappelle, who signed a lucrative multiyear deal with the company in 2016 and has won Emmys and Grammys for his Netflix work. In a note this week, Mr. Sarandos countered the arguments of Netflix staff members who had suggested that Mr. Chappelle’s special, “The Closer,” could lead to violence against transgender people, writing that he had the “strong belief that content on-screen doesn’t directly translate to real-world harm.”Mr. Sarandos, who joined Netflix two decades ago and became its co-chief executive last year, also said that the company would go to great lengths to “ensure marginalized communities aren’t defined by a single story.” He cited inclusive Netflix programs like “Sex Education” and “Orange Is the New Black” as well as Ms. Gadsby’s specials, which also include “Douglas,” released in 2020.In her social media post on Friday, Ms. Gadsby, who is a lesbian, objected to the executive’s references to her in his defense of the company and Mr. Chappelle’s special.Hannah Gadsby, whose Netflix specials were critical and popular successes, called the company “amoral” in a social media post on Friday.Sara Krulwich/The New York Times“Hey Ted Sarandos!” Ms. Gadsby wrote. “Just a quick note to let you know that I would prefer if you didn’t drag my name into your mess. 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 world view.”She continued: “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.”Netflix declined to comment on Ms. Gadsby’s remarks.At a virtual company meeting that started at 10 a.m. Pacific time on Friday, Mr. Sarandos replied to a series of tough questions from employees, who asked about Mr. Chappelle’s special and how the company had responded to criticisms of it, according to three people with knowledge of the gathering. The event became emotional when several employees were persistent in their questioning of Mr. Sarandos and his support for someone who they feel engages in hate speech, the people said.After the meeting, Netflix said in a statement that an employee had been fired for sharing internal documents pertaining to Mr. Chappelle with the press.“We have let go of an employee for sharing confidential, commercially sensitive information outside the company,” the statement said. “We understand this employee may have been motivated by disappointment and hurt with Netflix, but maintaining a culture of trust and transparency is core to our company.”The documents included private financial information regarding Mr. Chappelle’s Netflix specials that were published this week by Bloomberg, according to a person with knowledge of the termination. The documents included the costs for the specials — $24.1 million for “The Closer” and $23.6 million for Mr. Chappelle’s previous special, “Sticks & Stones” — as well as an internal metric that determines the value of the specials relative to their budgets.Such data is available to Netflix staff but rarely made public. The appearance of the statistics in a published article is a further sign of how deep the schism is between some Netflix employees and company leadership.Several organizations, including GLAAD, which monitors the news media and entertainment companies for bias against the L.G.B.T.Q. community, have criticized Mr. Chappelle’s special as transphobic. A group of Netflix workers has planned a walkout for next week in protest.Nicole Sperling More

    • 50 Shares159 Views

      in Television

      Best Comedy of 2020

      by

      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s NotebookBest Comedy of 2020Comedians like Leslie Jones, Chelsea Handler and Hannibal Buress adjusted to the new abnormal, turning to Zoom, YouTube, rooftops and parks.The pandemic halted most live performance but comedians adjusted and adapted. Clockwise from bottom left: Leslie Jones, Eddie Pepitone, John Wilson and Ziwe Fumudoh.Credit…Clockwise from bottom left: Rahim Fortune for The New York Times; Troy Conrad; HBO; Chase Hall for The New York TimesDec. 15, 2020, 5:59 p.m. ETThe comedy boom finally busted. Not only did the pandemic shut down comedy institutions, but New York clubs like Dangerfield’s, which was half a century old, and the stalwart The Creek & the Cave closed for good, as did the city’s branches of the improv powerhouse, the Upright Citizens Brigade. At the same time, comedians adjusted to the new abnormal, transitioning to Zoom and Instagram Live, and to shows in parks and on rooftops. It was a period of experimentation and stagnancy, contraction and accessibility, despair and occasional joy. In a low year, here were the highlights:Funniest SpecialDo you find an angry blue-collar guy yelling about being high on molly funny? Does the phrase “Stalin on Spotify” amuse you? Do pivots from ragingly unhinged roars to an NPR voice make you lose your breath in laughter? No? Not to worry: Eddie Pepitone will still delight. An overlooked master of the form, he’s perfected a persona of the silly grump that makes anything funny. Smart comedy that aims for the gut, his new special (available on Amazon Prime) is titled “For the Masses,” but he jokes that is by necessity, in one of several insults of his audience: “I would be doing jokes about Dostoyevsky if it wasn’t for you.”After leaving “Saturday Night Live” in 2019, Leslie Jones had a viral year that included the Netflix special “Time Machine.”Credit…Bill Gray/NetflixBest Complaint About 20-SomethingsLeslie Jones made the most of her first year after “Saturday Night Live.” Not only did she go viral roasting the clothes, furniture and décor of cable news talking heads in social media videos, but she made a dynamite Netflix special, “Time Machine,” where she castigated today’s young people for failing to have fun. “Every 20-year-old’s night,” she preached, “should end with glitter and cocaine.”Best 20-Something CounterAbout six weeks after the release of Jones’s special, the breakout young comic Taylor Tomlinson made an impressive Netflix debut with “Quarter-Life Crisis”; in it, she says she’s sick of people telling her to enjoy her 20s. “They’re not fun,” she said exasperated, in one of many cleverly crafted bits. “They’re 10 years of asking myself: Will I outgrow this or is this a problem?”Best Opening GambitBy describing her special in detail, beat by beat, at the start of Netflix’s “Douglas” — Hannah Gadsby’s follow-up to “Nanette” — she seemed to be eliminating the most important element of comedy: surprise. But like Penn & Teller deconstructing the secrets of magic while hiding some new ones, she just found a new way to fool you.In his YouTube special “Miami Nights,” Hannibal Buress told a story about an encounter with a police officer that led to his arrest.Credit…Isola Man MediaBest Closing StoryIn his funniest and most stylish special, “Miami Nights,” on YouTube, Hannibal Buress ended on a 20-minute story about an unsettling encounter with a police officer in Miami that led to his arrest. It’s a master class in comic storytelling that sent himself up, skewered the police, hit bracingly topical notes with throwaway charm while adding on a coda that provided the visceral pleasures of payback. It’s stand-up with the spirit of a Tarantino movie.Best Silver LiningOne nice side effect of the shutdown for live comedy is that in transitioning to digital, local shows became accessible to everyone with an internet connection. So it was a nostalgic treat that the weekly Los Angeles showcase Hot Tub, which pioneered weird comedy in New York before moving to the West Coast, once again became part of my comedy diet, via Twitch. While there were many new faces, much hadn’t changed, like the eclectic and adventurous booking and the dynamite chemistry of its hosts Kristen Schaal and Kurt Braunohler.Best Alfresco SpecialStreet comedy, a subgenre of some legend, was all but dead when the pandemic pushed stand-up outdoors. By the fall, several comics, like Chelsea Handler and Colin Quinn, even made specials there, working crowds whose laughter did not echo against walls. The sharpest was “Up on the Roof” by the workhorse comic Sam Morril (it’s his second punchline-dense special of the year), the rare person to translate New York club comedy to rooftops (with the help of cameras on drones).Cole Escola portrays a cabaret performer in his YouTube special, “Help! I’m Stuck! With Cole Escola.”Credit…Cole EscolaBest Sketch ComicWhen comedic dynamo Cole Escola produced his own special featuring deliriously bizarre characters wrapped in pitch-perfect genre spoofs, and released it on YouTube under the title “Help! I’m Stuck! With Cole Escola,” he was surely not trying to embarrass networks and streaming services for never placing him at the center of his own show. But that’s what he did.Best New Talk ShowThe charismatic Ziwe Fumudoh has long been comfortable creating and sitting in the tension between the comedian and the audience in small alt rooms, but in her interview show on Instagram, she repurposed this gift for cringe and applied it to probing conversations on racism with guests like Caroline Calloway and Alison Roman. It made for essential viewing during a protest-filled summer.Best Siblings“I Hate Suzie” provided serious competition, but the best British comic import this year was “Stath Lets Flats,” which found a home on HBO Max. This brilliantly observed office comedy focuses on the mundane travails of an awful real estate agent and his sister. Jamie Demetriou (who created the show) starred, along with his real-life sister Natasia, better known in the United States because of her dynamite deadpan in the FX vampire comedy “What We Do in the Shadows.” The show is cringe comedy whose beating heart comes from their relationship. Look out Sedaris siblings. A new talent family has arrived.The stand-up comic Beth Stelling released a special on HBO Max titled “Girl Daddy.”Credit…HBO MaxBest Debut SpecialThe stand-up comic Beth Stelling’s pinned tweet is from 2015: “I’ve been called a ‘female comic’ so many times, I’ll probably only be able to answer to ‘girl daddy’ when I have children.” This year, she released a knockout special on HBO Max titled “Girl Daddy.” It’s a virtuosic performance, conversational while dense with jokes — with a portrait of her father, an actor who works as a pirate at an Orlando mini-golf course, that manages to be scathing, loving and sort of over it, all at the same time.Best Experimental ComedyIt’s a good sign for adventurous work that last year’s winner (Natalie Palamides’s solo shocker “Nate”) is now a Netflix special. But the revelation this year was HBO’s “How To With John Wilson,” a kind of reality show about New York City that pushed formal boundaries while unearthing the hidden and the overlooked in poignant, funny new ways.Best DirectionIn one of her final projects, Lynn Shelton masterfully shot the latest Marc Maron special “End Times Fun,” on Netflix, demonstrating that great direction doesn’t need to be about showy camera movements. Her shot sequences emphasized and played against Maron’s jokes, working together effortlessly, like dancing partners that intimately know each other’s moves. Two months later, in May, she died of a blood disorder. Memorializing her movingly on his podcast, Maron, her boyfriend, said: “I was better in Lynn Shelton’s gaze.”AdvertisementContinue reading the main story More

    • 113 Shares169 Views

      in Movies

      We’re Not Used to Seeing Women Act This Way

      by

      These women rewrote their own stories in brilliantly revealing new ways. They can’t afford to be anythingless than comp etent. Masks Off The biopic. What an awful genre. What an awful name for a genre. Awful because it sounds like medicine. Awful because it’s too easy to confuse the actor for the person they’re playing, […] More