Cool Girls and Gender Politics in ‘Gone Girl’

Cool Girls and Gender Politics in ‘Gone Girl’

Horror


Pike-y perfection.

After closing out September with a re-do of Jennifer’s Body (listen), a film we covered in one of our earliest episodes, and a discussion of Jonathan Glazer’s controversial Birth (listen), we’re continuing our theme of Anniversary/Diva Worship with a look at David Fincher‘s Gone Girl (2014).

Gone Girl sees Amy Dunne (Rosamund Pike), the inspiration for the beloved series of “Amazing Amy” children’s books, go missing. The prime suspect is her husband Nick (Ben Affleck), though he is as shocked at his wife’s disappearance as the police are.

As the days go by and more clues are unearthed, it becomes clear that Nick isn’t honest as he seems, and that the marriage he had with Amy may not have been as blissful as everyone thought.

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Episode 302: Gone Girl (2014)

Check your red panty inventory and hide that bottle of Chardonnay because we’re discussing David Fincher‘s exceptional adaptation of Gillian Flynn‘s bestseller Gone Girl in the third week of our Anniversaries and Diva Worship theme. Be a “Cool Girl” and give us a listen!

Join us as we dig into the origins of Flynn’s source novel before going all in on this 2.5-hour juggernaut of a film (and yet it flies by???). From Rosamund Pike‘s Oscar-nominated performance to the accusations of misogyny, there’s no shortage of things to discuss in this densely plotted film.

Plus: Carrie Coon (and Missi Pyle!) worship, atrocious accent attempts, thoughts on the Outback Steakhouse, treasure hunts and world class vaginas.


Cross out Gone Girl!

Coming up on Wednesday: We’re covering a juggernaut of horror cinema as we discuss Tobe Hooper’s The Texas Chain Saw Massacre for its 50th anniversary.

P.S. Subscribe to our Patreon for over 337 hours of Patreon content including this month’s new episodes on Hannibal Season 1 Episode 10, Freeway II: Confessions of a Trickbaby, It’s What’s Inside, Apartment 7A, Salem’s Lot (2024) and, finally, our brand new audio commentary on Wes Craven’s New Nightmare for its 30th anniversary.



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