Romantic comedies can be see to represent Post-feminist values in the way women are represented on screen (Green 2013). Post-feminism refers to the belief that women have already been liberated, and therefore the evidence that suggests otherwise is ignored, further reinforcing hegemonic structures (Green 2013). In romantic comedies, the leading female protagonist is often represented as living a free and independent life. Some of these females use their freedom to adopt female specific behavioural patterns that feminism set out to eradicate. An example of this can be found in Sex and the City, a romantic comedy TV series and movie in which all four female protagonists are successful in their careers, financially stable, and seemingly independent beings (Green 2013). Despite these qualities, the entire TV series, and movie, represents a story that is contradictory to feminist values, and therefore reinforces patriarchal domination by insinuating that women 's true happiness cannot stem from personal achievement and success, but rather lies in the approval and relationships of men (Green 2013). Another common trope within romantic comedies that exists in a domain of Post-femininity, is that of the 'Manic Pixie Dream Girl ', a quirky and worldly woman who has a lot to teach about self acceptance and happiness (Joyce 2014). At first glance, this character could be perceived to be a strong female lead who has depth and a complex personality, but if we take a deeper look we find this is not quite true. Goldfine (2014) says that the 'Manic Pixie Dream Girl ' has a sole purpose within the film of swooping in on the male protagonist, who is suffering from some kind of inner turmoil, to be the vector of his personal development. When she has 'saved ' him from himself and taught him how to embrace life 's mysteries, she leaves. The 'Manic Pixie Dream Girl ' lacks
Romantic comedies can be see to represent Post-feminist values in the way women are represented on screen (Green 2013). Post-feminism refers to the belief that women have already been liberated, and therefore the evidence that suggests otherwise is ignored, further reinforcing hegemonic structures (Green 2013). In romantic comedies, the leading female protagonist is often represented as living a free and independent life. Some of these females use their freedom to adopt female specific behavioural patterns that feminism set out to eradicate. An example of this can be found in Sex and the City, a romantic comedy TV series and movie in which all four female protagonists are successful in their careers, financially stable, and seemingly independent beings (Green 2013). Despite these qualities, the entire TV series, and movie, represents a story that is contradictory to feminist values, and therefore reinforces patriarchal domination by insinuating that women 's true happiness cannot stem from personal achievement and success, but rather lies in the approval and relationships of men (Green 2013). Another common trope within romantic comedies that exists in a domain of Post-femininity, is that of the 'Manic Pixie Dream Girl ', a quirky and worldly woman who has a lot to teach about self acceptance and happiness (Joyce 2014). At first glance, this character could be perceived to be a strong female lead who has depth and a complex personality, but if we take a deeper look we find this is not quite true. Goldfine (2014) says that the 'Manic Pixie Dream Girl ' has a sole purpose within the film of swooping in on the male protagonist, who is suffering from some kind of inner turmoil, to be the vector of his personal development. When she has 'saved ' him from himself and taught him how to embrace life 's mysteries, she leaves. The 'Manic Pixie Dream Girl ' lacks