RED PILL(S)EM VÊNUS: Narrativas midiáticas da Machosfera sobre a Mulher Ideal nos relacionamentos afetivos de sucesso

Resumo (EN)

This dissertation investigates the narratives of a specific strand of the Manosphere, the Red Pill movement, in the construction of the “ideal woman” as represented on Instagram. It examines the content produced by three Brazilian exponents who, at different levels, assume and perform the Red Pill ethos: Thiago Schutz (a relationship coach who dramatizes misogyny in caricatured statements), Alessandro Loiola (a technicist physician who grounds male domination in the language of health and testosterone), and Ítalo Ventura (a romantic-mercantile influencer who sells the ideal of the “high-value woman” through courses and sentimental self-help narratives).
Drawing on the paradigms of Complexity, the Anthropological Structures of the Imaginary, Analytical and Archetypal Psychology, and critical theories of Media and Postmodernity, the study investigates how these figures produce and disseminate female stereotypes in discourses that disguise misogyny under the rhetoric of success, self-development, and self-determination.
The corpus, composed of posts such as Reels, written texts, responses to followers, and video-selfies collected throughout 2024, was analyzed through categories such as misogyny, the image of the idealized woman, the equivalence between romantic and economic success, media visibility, obsession with success, the woman as the family’s foundation, and the conservative shadow of the Manosphere. The analysis reveals that the “ideal woman” is presented as a paradoxical simulacrum: young, beautiful, available, submissive, and domesticated — a narcissistic mirror of patriarchy converted into an affective commodity. The study shows that Red Pill functions less as a philosophy than as a paranoid pedagogy of masculinity in crisis, amplified by Instagram’s algorithmic logic.
It is concluded that the strength of this discourse does not lie in reality, but in its ability to viralize archaic images under the guise of innovation. The Redpill “ideal woman” does not exist: she is only a digital mirage, a collective phantom of a world that has already ended but insists on returning as spectacle.