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Mike Nichols’ 1988 hit workplace comedy WORKING GIRL is set in a very different era than Kitty Green’s new, more somber THE ASSISTANT, but taken in tandem, the two films reveal how certain gendered power dynamics haven’t changed much in the 32 years separating them. This week we look at WORKING GIRL in the context of a string of 1980s workplace-empowerment movies and Nichols’ career alike, and try to parse its broader points about women in the workplace, and how they function within what is in many ways a traditional Cinderella story. Plus, we respond to some recent criticism regarding “protagonist bias” in our episode on BAD EDUCATION.
Please share your comments, thoughts, and questions about WORKING GIRL, THE ASSISTANT, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.
Outro Music: Carly Simon, “Let the River Run”
Learn more about your ad choices. Visit megaphone.fm/adchoices
By Genevieve Koski, Keith Phipps, Tasha Robinson & Scott Tobias4.6
786786 ratings
Mike Nichols’ 1988 hit workplace comedy WORKING GIRL is set in a very different era than Kitty Green’s new, more somber THE ASSISTANT, but taken in tandem, the two films reveal how certain gendered power dynamics haven’t changed much in the 32 years separating them. This week we look at WORKING GIRL in the context of a string of 1980s workplace-empowerment movies and Nichols’ career alike, and try to parse its broader points about women in the workplace, and how they function within what is in many ways a traditional Cinderella story. Plus, we respond to some recent criticism regarding “protagonist bias” in our episode on BAD EDUCATION.
Please share your comments, thoughts, and questions about WORKING GIRL, THE ASSISTANT, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.
Outro Music: Carly Simon, “Let the River Run”
Learn more about your ad choices. Visit megaphone.fm/adchoices

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