In Nanette, Gadsby strains against the impulse to end every joke with a punchline. To diffuse the tension as such would be a cop-out. She wants the audience to sit with it...powerful, uncomfortable, and searingly angry.
Nanette is the kind of work that leaves you shaken. Not because it's really funny (it really is), or because it's equally heartbreaking, but because it finds a fusion of those two modes that's incandescent.
In Nanette we witness the shock of the new, a voice that dares to speak to this frustrating and often hideous cultural moment, a comedian willing to drop the act. I would call Gadsby a genius, but she would likely push back against that term.