Beloved documentarian Louis Theroux has teamed up with Netflix for a new feature-length project tackling masculinity and misogyny. Titled Inside the Manosphere, there’s a teaser trailer to check out ahead of its streaming debut on Wednesday, March 11, reuniting fans with the genteel star for the first time since The Settlers, which aired on BBC Two in the U.K. last April.
Directed by Adrian Choa, Theroux’s latest piece (clocking in at 90 minutes) whisks him away to Miami, New York, and Marbella as he immerses himself in the microcosm of extreme online influencers and content creators. He’ll not only discover what terms such as “red-pilling” entail, but examine how prominent individuals’ interpretations of traditional gender roles are having a distinct effect on the morals and values of young men. This doc also captures the surprising perspectives of women who seem to be supporting them.
As ever, some of the interviews Theroux executes won’t necessarily go the way he expects. In one brief glimpse of a scene, the cameras are pointing at a guy on the street being warned: “Careful of this fella, mate. The evil smile…” Later, we see the 55-year-old watching one of his subjects do a terrible impression of him during a livestream. “Do I sound like that?” he asks the crew behind him.
Don’t Expect the Next ‘Adolescence’
During a conversation with Deadline, the man who brought us Weird Weekends and America’s Most Hated Family responded to suggestions that Inside the Manosphere was somewhat riding on the coattails of Netflix’s sensational limited series, Adolescence, which told the tale of a family dealing with their son’s arrest after being accused of killing a fellow school pupil. Stretched across three episodes — all shot in one unbroken take — Adolescence became the first major piece of entertainment to interrogate what’s really going on in the darker corners of the internet, and how it can potentially influence the younger generation.
Theroux told the publication that his docufilm began shooting before Adolescence premiered on the streamer.
“It’s sort of nothing like Adolescence but it’s in the precinct of what the boy in Adolescence might have been watching. I guess Adolescence was a proof of concept, but I don’t ever think we needed a proof of concept. We knew it was a hot subject.”
He then reflected on the experience of witnessing himself on the social media timelines of his interviewees, which he apparently foresaw.
“I knew they would be streaming or filming me and would put that content out. And I hoped we’d get this feedback loop where there was a meta narrative that was then affecting my approach to the story. Sometimes it was kind of embarrassing. I’d arrive back from filming trips and my kids would say, ‘Dad, what you were doing? You got owned.’ That’s a little bit painful but actually makes for a stronger film.”
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