Gadsby is more confident now. She's owned her story and has had some healing since Nanette came out. She's got a lot off her chest and doesn't feel the need to apologise anymore.
"I'm not for everyone. People don't like me for various reasons. That's cool. But there are people who've just decided they don't like me and there's nothing I can do that will budge that. I'm not going to waste my time in that."
Gadsby is still upfront about what annoys her - golf, the paleo diet, anti-vaxxers, the patriarchy - but in Douglas, her anger doesn't hold the same intensity of pain and is clearly expressed for its comedic purposes rather than shock value.
"I like doing stand-up. Quitting comedy was because I'd got to a certain point that I couldn't maintain and Nanette pushed me through that and now I feel a lot freer."
As she did with Nanette, Gadsby rewrites the rules of comedy in Douglas. She opens by laying out the exact plan for the show, what jokes she'll tell and who she'll target, warning the audience not to invest in their feelings if they find themselves in the firing line.
Comedy often relies on surprise and shock for the punchline. The realisation that Gadsby has done exactly what she outlined, but in the most unexpected of ways, only amplifies the laughs.
Gadsby feeds off her haters. Some critics complained Nanette was too much like a lecture, so halfway through Douglas, she delivers an art history lecture, a subject she's loved bringing into the world of comedy.
"It's a fairly simple recipe. I have a genuine love and passion for [art history]. I think a lot of people have at least a passing interest in it, but feel alienated and so I'm trying to bring people closer to it. Whereas I think a lot of people who talk about art like to keep it at a distance, just in order to justify their expertise."
The other bonus of discussing art history halfway through her show is that it gives her a break from talking about herself. "I don't have to use me as a reference point."
As well as bringing discussions on the High Renaissance into a more accessible domain, Gadsby has also become a voice celebrating neurodiversity. She was diagnosed with autism prior to Nanette's release, but she only revealed it publicly as part of Douglas. It was a strategic omission - she wanted to make her name first, before it was attached to autism.
"I didn't want people to dismiss everything I had to say through the prism of what they thought they already knew about autism. That's why I made it really central to Douglas." Even though the show isn't about autism, it reveals the way she thinks and communicates.
"I feel good that I've given it a voice. I hope other voices get to join in on the neurodiversity of it and I like that," she says. "I think for too long we've believed there's a right way to think and a wrong way to think. And there's just so much logic to the idea that if we have a community built out of a lot of different ways of thinking then surely that community's going to be stronger?"
Gadsby never expected Netflix to give her a new audience. At best, she thought it would help reach people who identified with her, but she was stunned that such a diverse range of people connected with her.
"I'm big in India, that's surprising to me. I love that, that's incredible." Other surprising areas of fandom? The very target of many of her sets - men. "Straight, white men, quite a lot of them. They weren't as loud as the ones that hated it, but you can't win 'em all."
Gadsby's still struggling to believe she turned a show around as soon as she did after Nanette - and managed to wrap up a world tour of Douglas before the world went into a Covid lockdown.
As for a third show? Gadsby hinted there's more to come.
"I feel like I've got some more fun to have on stage."
