The manosphere has rapidly moved from anonymous forum-based communities to mainstream contexts, generating manfluencers with mass followings. While popular and networked misogyny, together with various parts of the manosphere have been well studied, manfluencers as key agents in the mainstreaming of the manosphere have received relatively little academic attention. This article explores how Estonian TikTok manfluencers signal problematic messages through audiovisual elements with such strong connotations to the manosphere that they embody or reference an ideology without any need to mention it explicitly. By using a mixed-methods approach, the study will employ a combination of standardized content analysis and group exercises with audiences (not fans) of this content to conceptualize and explore what in this article is termed “misogynesque” – a coded style of content unique to the genre of manfluencers that is able to circulate in mainstream settings. The study elaborates on how manfluencers engage in affective racketeering by using audiovisual elements to evoke affective responses in their audiences. Results indicate that the misogynesque is constructed through the connotations of sounds and visuals, which have become symbols of hypermasculinity. These include luxury yachts, cars, a trained physique and daily routines. Misogynesque is further employed through a process of affective racketeering, which utilizes the sociosemiotic connotations of audio cues and framing styles. For example, close-up framing facilitates sympathy and intimacy, while the use of techno music projects aggression and intimidation. The results of this study are crucial for understanding the processes behind the mainstreaming of the manosphere and networked misogyny.
Kaarel Lott (2026) studied this question.