Proper Gander: Theroux the keyhole (2026)

The Proper Gander column from the May 2026 issue of the Socialist Standard

Louis Theroux has built up his career as a documentary-maker since the 1990s, with his trademark approach being to patiently spend time among society’s stranger subcultures to learn about what motivates the people within. The subjects of his latest film are prominent figures in the ‘manosphere’, a loose online network which upholds hard-line versions of masculinity. Netflix’s Inside The Manosphere follows Theroux as he meets influencers who have amassed millions of young male fans through their social media platforms, livestreams and podcasts. Their content extols their values of conspicuous wealth, sexism and conspiracy theories, with the influencers all living extravagant lifestyles and exuding confidence, giving their views plausibility among their impressionable followers.

In Marbella, Theroux visits Harrison Sullivan (aka HSTikkyTokky) and Ed Matthews, whose online content includes videos of macho fitness tips and ‘predator stings’ confronting alleged paedophiles. Sullivan becomes suspicious that Theroux is trying to catch him out and cuts short the time he agreed to spend being interviewed, although he later backtracks after his videos about their first meeting attract more clicks. While Sullivan and Matthews represent the ‘laddish’ style of influencer, Justin Waller from Louisiana is more measured, wearing tailored suits as he drives Theroux around in his Lamborghini. Waller’s material combines business advice with a disdain for feminism, saying women tend to prefer traditional family roles. He and his wife are in a ‘one-sided monogamous’ relationship, and it’s not him who’s monogamous. This arrangement is also a preference of the Miami-based influencer known as Myron Gaines, who claims women ‘want a guy that can lead them and dominate them’. Theroux sits in during Gaines’ Fresh & Fit podcast in which his female guests get objectified, belittled and embarrassed. As Theroux later comments, many of the influencers ‘advocate for traditional values while at the same time wanting to be seen with scantily-clad models’.

The confidence which influencers have in their derisory beliefs about women’s roles comes from their ‘red pill’ ideology. This is a reference to the 1999 film The Matrix, which we’re told in this context means seeing through the mainstream media’s discrimination against men, although ‘redpilling’ is usually shorthand for adopting a far-right viewpoint. New Yorker Sneako is among the more politicised of the influencers Theroux meets. Alongside being a Muslim Trump-supporter, he claims satanists run the world, leaving clues in pictures of celebrities using ‘one eye’ symbolism and telling people such as singer Sam Smith to become transgender. Predictably, he adds that the aim of this satanic cabal is to establish a single global government. While Sneako denies this is Jewish, other influencers share the conviction that a small group of Jews are behind a plan to promote degeneracy through manipulating culture, especially gender politics.

The outlook spun by the influencers is really a convoluted way of enticing people to buy the financial products they have a stake in. Theroux tests one of Sullivan’s investment opportunities and loses most of the £500 he paid in. Sullivan is at least honest in admitting that what drives his material is what makes money for him rather than what is considered right or wrong. An example is when he says he was ‘clip-farming’ by including antisemitic content while not believing it, as he knew this would generate attention. Getting exposure in order to gain more supporters and therefore customers is the priority. The notion that ‘there’s no such thing as bad publicity’ would apparently be confirmed after Inside The Manosphere was released, with Sullivan accruing more followers because of the coverage it has given him, according to an article in the Metro (7 April), which itself represents more promotion.

As the focus of the show is Theroux meeting people, not much time is spent analysing the manosphere’s place in society. This approach either admirably allows the viewer to reach their own conclusions or disappointingly makes the programme feel shallow. Theroux posits how the upbringing of the influencers may have contributed to their mindset in that many of them lacked a supportive father figure, perhaps affecting their attitudes to relationships, such as ‘one-sided monogamy’. More widely, he says they are ‘products of a culture – growing up online in a world that’s changing at dizzying speed’ with long-established male roles challenged. He adds that they now project their trauma by ‘spewing hate’ to an audience of young men looking for something to feel they belong to, preferably with money to buy financial products. The fans of the influencers we see in the documentary clearly feel empowered by what their heroes advocate. Theroux recognises that while the influencers offer hope to troubled men, it comes with a belief that they are living in ‘a matrix purposely designed to make men fail’. He suggests ‘the matrix they rail against more accurately describes the algorithmic prison they’ve created for their followers, an illusion of endless wealth and power that actually only enriches a few at the top’.

The personal traumas which shaped the mindsets of each influencer and follower happened in a world which is ‘designed to make men fail’ (and women too, often in different ways). This is the divisive world of capitalism, driven by aspirations of wealth amid poverty and power amid powerlessness. They have misinterpreted this, though, and don’t identify the economic system itself as structurally creating (nearly all) people’s disadvantaged position, but instead blame the ‘matrix’ of feminism and a supposed Jewish cabal. This poisonous stance has proved lucrative for the influencers because it attracts attention online among vulnerable men, reinforcing a worrying association between wealth and bigotry. The confidence with which this mentality is promoted disguises its errors and contradictions, such as its ridiculous ‘evidence’ for a Jewish / satanic conspiracy and the hypocrisy of its attitudes to women. For an ideology apparently based on dogged independence it relies heavily on fan worship of the influencers. The ‘manosphere’ is both an expression of the alienation which comes with living in capitalist society and a dangerously misguided attempt at compensating for that alienation.

Mike Foster

Proper Gander: Lessons from Adolescence (2025)

The Proper Gander column from the May 2025 issue of the Socialist Standard

A little over a year since Mr Bates vs The Post Office reminded us that TV drama can still have an impact, Netflix’s Adolescence has also shaped debate in Parliament, online, in the media and round the proverbial water cooler at work. Adolescence has been particularly resonant because the issue of violence from young males which it raises feels both more emotive and widespread. The story centres on a 13-year-old boy who is accused of stabbing a girl from his school. Each episode covers an hour at intervals after the murder, with the first showing Jamie’s arrest at his home. Episode two follows the police’s initial visit to the children’s school, the third is a conversation between Jamie and a psychologist some months afterwards and the last episode looks at how the rest of his family are managing over a year later. The performances from Owen Cooper as Jamie and Stephen Graham as his father Eddie are particularly gripping, with Graham also co-creating and co-writing the series. Impressively, each episode was filmed in one continuous take, which must have involved intricately structuring and choreographing the scenes to get the camera and the actors in the right places at the right times.

The drama gives less emphasis to the details of the murder than to the circumstances around it, gradually bringing out the combination of reasons behind Jamie’s actions. His family isn’t portrayed as dysfunctional apart from his father’s anger, described as a generational trauma passed on to Jamie. His own anger is shown sparingly and as being fuelled by online culture. The ‘manosphere’ to which Jamie is drawn, of emojis, incels, influencers and abusive messages has led him to a view of women which leads to his crime. The script tends to understate the causes: Jamie is outwardly ‘normal’ rather than obviously aggressive. Online discourse isn’t explored in detail, other than several brief scenes where aspects of the ‘manosphere’ are mentioned, hinting at its links with far-right ideology. The meanings behind kidney bean emojis and ‘taking the red pill’ explained by the teenage characters would have been new to many viewers. An effect of this is to tell parents that they may not have understood the nature of online cultures their children are being tempted into, and how this can almost casually slide them into violence. In some ways, this is a modern version of past moral panics about the influence of horror comics, video nasties and computer games on young people, although this feels more serious, given today’s climate with the rise in knife crime and misogyny.

Much of the discussion sparked by Adolescence has concentrated on ‘toxic masculinity’, rather than another factor in what influenced Jamie. His school is depicted as a grim and tense place for children to learn in, taking into account that the scenes there are set only a few days after the murder. The teachers are depicted as policing behaviour more than teaching, while the regimented routines and drab walls aren’t much different from those of the police station or detention centre seen in other episodes. Our society’s institutions and environments encourage and reinforce alienation, with Jamie representing its extremes.

Adolescence isn’t a case study, although because it’s fiction perhaps it can be spoken about more openly than real cases. Its release was certainly timed well to contribute to a broader debate. In the same month, former England football manager Sir Gareth Southgate, giving the BBC’s annual Richard Dimbleby Lecture, said that today’s young men need more wholesome role models rather than ‘callous, manipulative and toxic influencers’ online. Also in March, the Centre of Social Justice published its Lost Boys report which describes an increasing divergence between the future prospects of boys and girls, with girls now more likely to later have higher qualifications and higher-paid employment.

Various right-wing vloggers (and Elon Musk) opined that Adolescence is liberal-lefty propaganda which demonises white males and distracts from the proportion of stabbings committed by black youths. Their dislike of the drama is presumably due in part to its criticisms of the ‘manosphere’ they represent. Right-wing commentators were also more likely than those on the left to say that it is being used by the government to justify legislation about regulating online activity. The Online Safety Act 2023 passed into law under the previous Conservative government, and its implementation is still in progress under Labour’s regime. The Prime Minister met with the series’ creators and backed MP Anneliese Midgley’s call for it to be screened in schools with the aim of helping to deter teenage boys from misogyny and aggression. Secondary schools are already obliged to include ‘Relationships and Sex Education’ on their curriculum and updated guidance to cover sexual violence is being planned. Even if the state’s approach of embracing the programme and saying they are taking action over the issues it raises is sincere rather than cynical, it’s still a better PR move than ignoring or disputing the drama.

Adolescence has, at least for a few weeks, connected together various attempts to address concerns about some young males. But to what extent can tightening up legislation about online activity or showing the series in schools or promoting different role models counter misogynistic violence? The context of the problem remains. Titling the drama ‘Adolescence’ points towards the root of the issue being with younger people, especially boys. However, the real cause is found with the social conditions which shape adolescence. Therefore deeper social change is needed, although this risks being ignored among the piecemeal reforms and proposals.

Mike Foster

Blogger's Note:

Mr Bates vs The Post Office was reviewed in the February 2024 issue of the Socialist Standard.