What does it mean that the most talked about comedy special of the year offered a biting critique of comedy itself? And that the most memorable talk show rant took aim at talk show rants? Maybe nothing — after all, comedy has long looked inward — but for an art form, tough criticism is one sign of health. Here are a few more.

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When I asked the heads of comedy at Netflix about my theory that Hannah Gadsby’s “Nanette” is less popular than its massive media coverage made it seem, they declined to answer. Truth is: It doesn’t matter. The impact of this arresting performance cannot be accurately measured in clicks, subscriptions or even rave reviews. It’s the most important comedy of the year because it challenged the form, and in so doing, expanded the idea of its possibilities. The criticism often leveled at “Nanette” — it’s not stand-up, but a solo show — is an unintentional compliment. Solo shows have a venerable, and funny, tradition (see Lily Tomlin, Whoopi Goldberg, Spalding Gray), and the fact that comedy has co-opted the genre from the theater is a coup.

[Our critics chose the best TV shows of 2018.]

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