Stand-up comedy has always been autobiographical, but now a new generation of comedians are adapting their lives (or some version of it) into scripted series.
In 2018, Hannah Gadsby started a revolution with Nanette, asking audiences to rethink what comedy was for. In the hour-long stand-up act, which touched on their life and experiences growing up in Tasmania, Gadsby offered a mandate to comedians to tell truths and, if needed, to seek reparation for trauma.
In Feel Good, Martin plays a version of themselves, also named Mae. They face and process addiction, realising their severe mental health issues and addiction are results of grooming and abuse they suffered as a queer teenager in the Toronto comedy scene. They build a romantic relationship with George , a young woman who is not yet “out” to her loved ones.
Aspects of the comedy are overtly funny. Martha’s character, with her crude sexual humour and misspellings, and the seemingly hapless Donny’s ill-received “anti-comedy” provide laugh-out-loud moments. The comedic tone provides structure for Gadd’s exploration of traumatic memories. an element of abuse that hadn’t been seen before the deeply entrenched, negative, psychological effects of attachment you can sometimes have with your abuser.
Scholars from psychology and literature and humour studies have considered the ways in which humour might be restorative for both the artist and the audience.
Hannah Gadsby Netflix Screen Trauma Autofiction
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