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Abstract
This essay juxtaposes readings of three films—1975's The Stepford Wives, 1987's Fatal Attraction, and the 2004 version of The Stepford Wives—to suggest that feminist media critics' understanding of the dynamics of feminist, postfeminist, and “post-postfeminist” discourses in popular culture should include attention to the rhetorical and political implications of representations of men and masculinity.