Postfeminist cultural representations have shown men as bumbling anti-heroes, and as sensitive and supportive of feminism. Research on postfeminist men has mainly been based on UK and US cultural representations, while other contexts have received little attention. In this article, I deepen the understanding of postfeminist portrayals of men by focussing on Sweden and on formulations of men’s emotionality and sexuality. I also develop the idea of postfeminist feeling rules by relating it to men. The material of the study is Boys, a 2015 Swedish TV series about two young feminist men. The article discusses several feminist-inspired discourses present in the series, including narratives of personal development, men’s emotions as in themselves progressive and a (semi)problematization of heterosexuality, all of which reduce gender politics to concern mainly the emotional lives of men. The postfeminist feeling rules formulated in the series privilege reflexiveness and, ostensibly, ‘letting out’ feelings and sexual desires. However, I argue that the series suggests a careful curating of emotional displays, excluding, for instance, aggressiveness. The article demonstrates the importance of critically scrutinizing mediated productions of postfeminist masculine positions in different contexts, and deepens the understanding of how postfeminism addresses and produces masculine subjects.

后女权主义的文化表现形式表明，男人是冒昧的反英雄主义者，是对女权主义的敏感和支持。关于女权主义男人的研究主要是基于英国和美国的文化表现形式，而其他背景却很少受到关注。在本文中，我将重点放在瑞典以及男人的情感和性取向上，从而加深对后女权主义男人的理解。我还通过与男人联系来发展后女权主义情感规则的观念。研究的材料是男孩，一部2015年瑞典电视连续剧，讲述了两名年轻的女权主义者。本文讨论了该系列中存在的几种女权主义启发的话语，包括个人发展的叙事，男人自身的进步情感以及异性恋的（半）问题化，所有这些都使性别政治减少了对男人情感生活的关注。系列中制定的后女权主义情感规则赋予反身性特权，表面上是“释放”出情感和性欲。但是，我认为该系列建议精心策划情感展示，但不包括侵略性。这篇文章证明了在不同情况下严格审查女性主义后男性立场的中介产物的重要性，