Good Bad Girl

I’ll admit, I went into *Good Bad Girl* skeptical—Feeney’s last book polarized listeners, and I worried this might lean too hard on shock value. But within 20 minutes, the narration sold me. Racine and Press don’t just *read* their roles; they *inhabit* them. Racine’s performance as the more emotionally raw character cracks with quiet desperation, especially in scenes where she’s supposedly ‘confessing’—her voice drops to a near-whisper, like she’s afraid someone’s listening (because *we* are). Press, meanwhile, nails the chilling precision of a woman who’s convinced herself she’s the heroine. Their back-and-forth in the book’s pivotal confrontation scene is *electric*—the kind of audio moment that makes you hit rewind just to catch the subtext. That said, the middle act drags slightly. Feeney’s red herrings are clever, but a few too many ‘remember when…’ flashbacks disrupt the momentum. And while the ending *lands*, it hinges on a reveal that might feel *too* neat for fans of ambiguity (think *Gone Girl*’s finale, but with more emotional fallout). Still, the production is flawless—no jarring edits, no awkward silences—and the narrators’ chemistry sells even the shakier plot beats. If you love thrillers that play with perspective (and don’t mind hating every character a little), this is a masterclass in audio tension. Pro tip: Listen with headphones. The way Racine’s voice seems to *lean in* during the final act? Chills.