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Hannah Gadsby's Nanette critiques comedy as an imperfect tool for processing and transcending trauma. Funny Cow, about a woman comedian in 1970s northern England, attempts something similar. Both say something about the intersection of comedy and trauma and what it reveals about how we relate to each other as human beings.
It has become unpopular to invoke cultural and individual factors to explain the appalling conditions of Australia's Indigenous population. Some of the pronouncements emanating from government and other quarters are patronising and couched in terms that suggest that Indigenous people are wilfully recalcitrant.