Men Who Hate Women: From Incels to Pickup Artists: The Truth about Extreme Misogyny and How it Affects Us All

Gamergate was a mass harassment campaign that began in 2014, initially targeting game developer Zoe Quinn after allegations of infidelity by her ex-boyfriend. This online backlash quickly escalated into widespread misogyny and harassment against both her and feminist blogger Anita Sarkeesian, with both women receiving death threats and continuous online abuse. Bates uses Gamergate to demonstrate how online trolls target women in an attempt to threaten them into silence.

“Incel” is a portmanteau of “involuntarily celibate,” referring to men who blame women for their inability to form romantic or sexual relationships. Bates describes this as one of the most violent sectors of the manosphere. Members often harbor extreme resentment toward women, believing that women are the root cause of their personal and romantic failures. Originally a supportive online space for people to share their struggles finding love, the incel community has since morphed into a toxic subculture promoting misogynistic beliefs and violence against women. Communities span websites, chat rooms, podcasts, YouTube channels, and more.

The “manosphere” is a broad online network of websites, blogs, podcasts, and communities promoting misogynistic ideologies. It includes various groups, such as Men’s Rights Activists (MRAs), pick-up artists (PUAs), MGTOW (Men Going Their Own Way), and incels, all of which perpetuate harmful stereotypes about women and gender relations. Bates criticizes the manosphere’s role in normalizing toxic masculinity and misogyny, which extends beyond the online realm to influence real-world attitudes and behaviors toward women.

MRAs are individuals or groups within the manosphere who advocate for the rights of men, but often in ways that perpetuate misogynistic and anti-feminist rhetoric. They argue that men are unfairly treated by social, legal, and cultural systems, especially in areas such as child custody, divorce, and mental health treatment. In Men Who Hate Women, Bates explores how MRAs often promote a narrative that frames men as the true victims in society, while directly contributing to men’s struggles by promoting rigid ideals of masculinity.

MGTOW is a subset of the manosphere that advocates for men to disengage entirely from relationships with women. The movement is divided into four levels, from taking the “red pill” (acknowledging that men are disadvantaged in society while women hold the majority of power) to complete societal isolation. MGTOW adherents reject romantic partnerships with women, viewing them as inherently deceptive and exploitative. Bates examines how this radical separation from women is portrayed as a path to freedom and self-preservation in a society that allegedly oppresses men.

Misogynist terrorism refers to violent acts motivated by hatred toward women, often rooted in beliefs promoted within the manosphere and incel communities. Bates draws attention to real-world acts of violence—from extreme acts of mass violence like Elliot Rodger’s Isla Vista attack to normalized, everyday acts of domestic violence—both of which are motivated by misogynistic ideologies. She critiques the failure to recognize these acts as terrorism motivated by misogyny and calls for a greater societal understanding of the ways misogynistic ideology can fuel violent actions.

Pickup artists (PUAs) are self-proclaimed experts who sell techniques for “seducing” women, often reducing women to sexual objects in the process. The PUA community thrives on the idea of “game,” a set of strategies and manipulative tactics aimed at coercing women into sexual acts. Bates discusses how PUAs exploit young men’s insecurities to sell misogynistic advice, fostering a culture where women are seen as targets to control and dominate rather than equals in relationships.

The “red pill” is a term popularized by the incel community, inspired by the movie The Matrix, symbolizing a dramatic shift in perspective. Taking the “red pill” represents a realization that male privilege is a myth and that society is rigged against men. Bates points out the irony of this metaphor, given that The Matrix was created by two transgender women and features strong female characters. Within the manosphere, the red pill symbolizes an embrace of toxic masculinity and the rejection of gender equality.