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´¡²ú²õ³Ù°ù²¹³¦³Ù:ÌýThe popular romance genre, while historically seen as a category of fiction promoting anti-feminist rhetoric and ideology, has now claimed a more feminist turn in the content it's producing. However, much of its feminist sentiment is surface level, not promoting any actual productive feminist doctrine. I argue that the works in the popular romance genre claiming to be feminist instead suffer from a postfeminist sensibility, not contributing to actual feminist dialogue and instead forwarding regressive ideas of gender. I will demonstrate this by analyzing the presentation of normative gender roles in Ali Hazelwood's The Love Hypothesis.

Sasha Switz will be graduating from ¼ø»Æʦapp in Spring 2024 with her Bachelor of Arts in English. She is extremely glad to almost be done with her undergraduate degree, and there will be a long break between this degree and the next one.