6 ‘Good girl’ turned ‘bad’ Tracey Spicer’s memoir, celebrity feminist journalism, and #MeToo activism in Australia Anthea Taylor Introduction In 2017, HarperCollins published the memoir of well-known Australian television journalist Tracey Spicer, The Good Girl Stripped Bare. The book was prompted by Spicer’s sacking (in an email) by one of Australia’s com- mercial television channels, Network Ten, after she returned from mater- nity leave. Via a linear narrative, she reinterprets her personal history in suburban Queensland as evidence of the kind of sexism and misogyny she later encountered in its most extreme form as a working new mother. This chapter argues that, with the publication of this memoir, Spicer suc- cessfully rebranded herself as a celebrity feminist author and activist. That is, while Spicer was previously a celebrity journalist, the memoir made her a celebrity feminist. The Good Girl Stripped Bare maps Spicer’s move from ‘good girl’ – as in a compliant feminine subject who does not contest her subordinate gendered positioning – to a ‘bad’ one, who comes to reframe her experiences through a feminist lens and refuses to remain silent about the ongoing disciplinary mechanisms that continue to delimit how it is possible to be a woman in contemporary Australia. Like Sara Ahmed’s ‘feminist killjoy’ (2010, 2017), the ‘bad girl’ is a highly politicised subjec- tivity, and in this instance is made manifest through a comedic voice, mak- ing Spicer’s book a distinctly Australian form of ‘femoir’. As I will argue, this voice is also crucial to the text’s articulation of feminist anger; while the role of comedy in the articulation of women’s rage has much a longer history, the current moment has seen it intensify (as per Kay’s analysis of Hannah Gadbsy’s Nanette in this volume). Although digital media is now lauded as the key site for the circula- tion and consumption of various feminisms, this chapter also underscores how the celebrity memoir – including the ‘femoir’ – is integral to these ongoing popular conversations and contestations around feminism, and to securing celebrity feminist capital. In this respect, the chapter engages with celebrity memoirs as literary forms of self-branding, where authors construct past selves through which their current renowned ones can be publicly read and reshaped. It concludes by demonstrating how Spicer’s self-presentational labour (Marshall 2010) via this memoir – repositioning