When hearing how Voller was treated in detention, the question people initially ask is ‘What was he in prison for?’ as though that determines whether he deserves what he gets. In Aranda House, the ‘holding facility’ used to deal with overcrowding in Alice Springs, the windows are painted black so you can’t see in and you can’t see out.
In Nanette, a brilliant meta-comic retrospective meets arts-as-activism performance, Gadsby revisits punchlines she’s been delivering onstage for years, as a gut-punch farewell. I remember these jokes from shows past: her slow, deliberate phrasing deployed to get our biggest laughs. But this time, she makes her audience pause to consider these stories. Are they jokes? Are they funny? Aren’t they horrific?