There is a moral significance to the precision with which Phair examines her own mortifications. She never shrinks from the concept of personal culpability, least of all her own. However, she also carries a determination to honour the complexity of human relations, particularly when they have descended into crisis.

Waters’ irreverence is especially striking in light of recent anxieties that surround the socio-political implications of humour for minorities. We see such concerns take centre-stage in Hannah Gadsby’s Netflix special Nanette, wherein the comedian repudiates her own self-deprecation as a form of internalised shame.