Post Feminism and the "unruly women"

McRobbie's "Post Feminism and Popular Culture" was an interesting explanation of the normalization of post-feminism and the "double entanglement" at play in post feminist texts. I couldn't help but thinking of a talk I was at in undergrad by Anne Helen Petersen about her book Too Fat, Too Slutty, Too Loud: The Rise and Reign of the Unruly Woman (which I have never read). In her talk she played the opening clip of Broad City season three, which is a montage of a year in the bathroom of the two main characters that perfectly encapsulates the tone of the series. She explained how series like Girls and Broad City represent "unruly" women who function more like male comedy stars and less like the "cool girl" you see in Jennifer Lawrence or Gone Girl-esque characters.  I couldn't help but wonder how this upcoming talk will frame the current age of women in cable TV in regards to postfeminism. As McRobbie explains the "gender aware" (260) modern woman in this meritocratic system, who is aware but silent, I wondered about Broad City. Is this, in a way, the new form of a postfeminist text? On the surface, it runs counter as these gender aware females are constantly upholding feminism, proclaiming their sexual freedom and liberation. Abby and Ilana are the exact antithesis of the "A1" girls that McRobbie describes.  They are transgressive in their behavior (I always describe them as a female Workaholics). But (spoiler), the third season finds the coupling of Abby and Kirk (completely out of character) and the emotional destruction of Ilana who has lost her casual sex interest in Lincoln (now in a monogamous relationship). The subversive female characters who individually ran their lives, believed in women and sisterhood over the need for men, and showed that women didn't need to be defined by rigid boxes, are suddenly undermined by the need for heterosexual coupling. The two women are both emotionally devastated when their couplings don't work out and the series ends as they attempt to leave the country. Yes, everything is resolved. But wasn't this (major) arc an example of how this kind of postfeminism bleeds into even the most progressive of feminist texts?