Hannah Gadsby has more to say about Louis C.K. The Australian comedian, whose special Nanette took the comedy world by storm earlier this year, called the disgraced comedy maestro a “joke” who “has not reassessed his position of power” in an interview earlier this summer—and now she’s elaborating further. Although Louis C.K. admitted in 2017 to sexual misconduct, including masturbating in front of women without their consent, Gadsby still believes “there’s a clear path to redemption. He’s just not taking it.”

Speaking with IndieWire, Gadsby noted the unrepentant tone of C.K.’s recent stand-up work. (Leaked audio from one of the comedian’s sets found him mocking the Parkland school shooting survivors, and using transphobic humor as well as the R-word.) Gadsby argued that C.K. needs to “stop feeling sorry for himself” if he ever wants to step back into the public’s good graces.

“He’s being self-indulgent and he’s being a crybaby,” Gadsby said. “That’s not a path to redemption, that’s just throwing a tantrum for the tantrum itself.”

IndieWire noted that when asked if other disgraced comedians, like Aziz Ansari or T.J. Miller, might also be able to reestablish their good names, Gadsby replied, “You can apply it to anyone.”

“I just think there’s an issue at large, and it goes across all issues of representation,” Gadsby continued. “I think because we think about men as the default, they don’t know how to let other people talk about their experiences without centering themselves. And that runs deeper than two lonely comedians.”

In a previous interview with the Los Angeles Times, Gadsby addressed the way C.K.’s power might have influenced the way he’s publicly responded to his fall from grace. “For a long time Louis C.K.’s comedy platform was that he was this hopeless guy bumbling through the world,” she said. “And at some stage, he was no longer that, but that was still his voice. And I think he still believes that. He has not reassessed his position of power, and that is why he was able to abuse it. It’s difficult to see a shift in your own power and privilege. It’s not something we’re trained to do. He still honestly thinks he’s the victim in all of this.”

Gadsby argued then that the material C.K. is using hasn’t changed as much as his tone. “He’s just angry and bitter [now],” Gadsby told the Times, adding that C.K. would do well to assess his own condition before anyone will feel compelled to listen to his musings on the human condition more broadly. “I’m guessing he believes he has done just that, though there’s evidence to the contrary,” she said. “He’s a trapped man. He’s doing his comedy from a position of defensiveness.”

That said, Gadsby also argued against censoring problematic artists like C.K. via a reference to one of her ongoing meditations in Nanette: “Censorship is useless because it leaves a gap where we learned a lesson,” she said. “Let’s say Picasso. I’m not a fan. But I am a fan. I’m not a fan of the gap that was left in his story, that he was a toxic, hostile individual and that his behavior was enabled by the community around him. But if you were to wipe him from our collective memory, we not only lose what he did well, we lose what he did badly. And we can learn from both.”

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