In Genkaku Picasso, one of the girls in Hikari's class idealizes yaoi relationships (explicitly because they are relationships without women) because she was cruelly bullied by her female classmates in grade school for being seen as a slut.
In the Korean comic Boy of the Female Wolf the cross-dressing (straight) female protagonist dislikes females because her momleft her when she remarried and her female classmates are shallow airheads. The only woman she sort-of respected was her grandma, and she "left" her by dying, forcing her to move in with her mom.
In Fruits Basket (manga version only), Akito despises women, and says they are "sneaky". Probably considers herself an honorary male as she was raised as a man and presents as one. The trope is discussed and possibly deconstructed through her, since Akito's hatred of women seems to focus less on the female gender itself, and more specifically on a specific group of women who are romantically involved with the Zodiac men, thus potentially stealing them away (Kisa, Rin, Kana, Tohru, etc). This was also showcased by Akito's verybad relationship with her mother Ren, who actually was the person who ordered to have Akito raised and presented as a man out of petty jealousy because Akito was a Daddy's Girl. The character herself has a pretty good relationship with the female maids, particularly one who comforted her after her father's death; not to mention, after the Zodiac curse ends and the now Heel Face Turned Akito comes to terms with the Zodiac members separating, she is far less aggressive towards the women she previously hated, while being clearly aware that she has hurt them thoroughly and at east one of them (Rin) will never be able to forgive her.
Kei's mom from Houou Gakuen Misoragumi, specially because she sends her lesbian daughter to an all guys's school to "fix" her. Made worse because the story seems to take her side.
In Powers, Walker asks his partner, Deena, whether she hates other policewomen. She disagrees and says she just doesn't like other women, period.
The character Angelica Smith (a.k.a Disruptor II) hated other women who she saw as being in the way of whatever she wanted. She would break other girls teeth for candy and snapped her foster mothers neck when she thought she was an obstacle for her step fathers love.
Alter from Y: The Last Man turns out to be one. She wants to die a soldier's death, and is vocal about her belief that it would be dishonorable to do so at the hands of a woman.
In How I Became Yours, Katara and Mai have quite the whiffs of this, as they backstab and hate each other without any hesitation just to get Zuko's cock for themselves.
Films — Live-Action
The film Courage Under FireColonel Nat Serling is investigating whether helicopter pilot Captain Emma Walden deserves the Medal of Honor for her actions in the first Gulf War. When he interviews the members of Walden's crew, the wife of one crew member repeatedly insults Walden, making comments about her being "too butch", taking them into danger because she needed to be a hero, and starts to make a comment about "those women who want to be officers..." before her husband cuts her off, tells her to shut up and that she doesn't know what she's talking about.
Claire Wellington from the remake of The Stepford Wives turns out to be responsible for the whole mess, blaming feminism for emasculating men.
In Psycho, Mrs. Bates raised Norman to hate and fear women who weren't her.
Good luck finding a female character in Mean Girls who doesn't come across as this as least once. Girls slut shame each other, steal each other's boyfriends, backstab each other and literally try to ruin each others lives. Not exactly girl-unity, right? Lampshaded by the end of the movie, where literally every girl in school has got into a catfight with a "friend" of theirs, most prominently over a two-timing boyfriend. This trope is deconstructed, reconstructed, Played for Laughs, Played for Drama and eventually Subverted, making it Zig Zagged to new extremes.
In Nineteen Eighty-Four, Julia says that she hates women, because under the Party's rule they've pretty much all been brainwashed into being obedient, submissive idiots. Shame that the same applies to everyone in the book.Mostly.
Jane Rizzoli of the Rizzoli series, who tends to have an unhealthy contempt for any woman who happens to be beautiful, or dares to display a hint of weakness, fear, or any other typical female trait. Yet she's just as contemptuous of women who refuse to show any vulnerability — apparently it's only acceptable for her to act this way. This character trait was tossed for the TV series Rizzoli & Isles. Not surprising, given that Rizzoli is played by the gorgeousAngie Harmon.
Grace Winter, Villain Protagonist of The Lifeboat, is an interesting case. In theory, she's in favour of women's-rights issues like universal suffrage (the book is set in 1914), but in practice, she holds every other female character she comes across in disgust and/or contempt... which becomes a plot point (and a serious problem) as the little group of survivors she's part of begins to divide itself into warring camps by gender.
Serena Joy from The Handmaid's Tale made a living as an advocate before Gilead took over, claiming that women should refrain from taking up careers and fighting for equal rights and instead seek a life of blissful peace in servitude to their husbands. Of course, now that she has (or rather, has been forced into) everything she preached about, she's pissed.
In the science fiction short story The Monsters, the females of the village are thrilled to be given no more than twenty-five days to live before being killed by their husbands. Because the birth rate of the tribe is always eight females to one male, and killing is used to curb the population.
A Song of Ice and Fire: Even in as deeply a patriarchal setting as Westeros, Cersei Lannister wins the gold medal. Utterly convinced that women in general are inferior, she believes herself to be the sole exception to the rule. Cersei often attributes mens' lack of approval to simple misogyny and women's incompetence to their gender, even blaming her own flaws on her gender. Yet for all of Cersei's posturing, she is sadly the closest thing to a Hysterical Woman the setting has to offer.
Anita Blake could be the Trope Namer for this one. Usually dresses in jeans and polo shirt, completely eschews makeup (but somehow always looks gorgeous), carries guns with an increasingly casual attitude towards shooting people who try to kill her/threaten her life/insult her in public/look at her funny, is surrounded by a male harem who are all forbidden to touch any other female so long as they are with her... after one of her early friendships is ended on a bizarre Strawman Argument incident, Anita is left with absolutely no female friends who are not subordinate to her in her massive multi-Pack/Coven hierarchy. Special props goes to her adventure in Las Vegas, where a female member of LVPD paves the way for a potentially lucrative sexual harassment for absolutely no reason at all. Entire online reviews have been devoted to Anita's blatant distaste for her own gender.
She will also remind anyone who listens that she's One of the Boys and insists that no one call her "girl" or "ma'am" and is actually happy when someone calls her a guy or a "son of a bitch." To even begin unpeeling the problems with this mentality would take years.
What makes this especially sad is that the early books of the series were widely applauded for featuring an incredibly strong female protagonist who could hold her own with tough, violent men. Unfortunately, one of the running themes now since Narcissus in Chains, the tenth book, is that anything feminine is weak and despicable and it's better to be seen as masculine.
In Royal Pains, Emily Peck accuses Divya of being "one of those women who doesn't like other women". Divya is disturbed by this, but eventually concludes that actually, "I'm one of those women who doesn't like you."
In Rumpole of the Bailey, during one of his complaints about the various unreasonable judges he has to work with, Rumpole singles out a female judge as a worse male chauvinist than any of the men.
In a real-life meta example, the strong, female second-in-command from the original pilot didn't make the series because the women in the test audience viewed her as "pushy" and said she shouldn't be trying so hard to fit in with the men.
Marina and the Diamonds was accused of being this when she dropped the song girls, in which Marina states that women are intellectually inferior to men and that they are all shallow, gossiping, weight-obsessed bimbos. Marina seems to forget she's a woman herself, with the first line proudly proclaiming "Look like a girl, but I think like a guy."
Subverted when Marina apologised for the song, confessing that it "made her cringe listening to it" and that any chauvinistic interpretations were "Not what I meant at all". She claimed that she is has a "definite feminist side" and actually was trying to write a empowering song for women, but Executive Meddling warped it into something else entirely. While she still likes to play the "air-headed, man-eating female" POV in song writing and in her music videos, she's become a lot more girl positive, even penning some songs which highlight the problems of objectification and slut-shaming in her music.
Oh Eun-a in Hate Plus, who erases her society's history in order to rewrite it into a neo-Confucian dystopia where women have no power or personhood, despite herself being a successful university chief.
Haley Starshine from the The Order of the Stick is a notable example. For some reason, she rarely gets along for very long with any other woman, either good (Miko, Celia) or evil (Crystal, Sabine, Samantha, Tsukiko — she jokes once she's always fighting "flying skanks"). There are exceptions, however, as she's best friend with Vaarsuvius (whose gender is unclear, though) and seemed to have no problem with Niu (in Azure City) or Jenny (in the backstory). So maybe it's more of a case of only meeting women whose personalities clash with hers.
The infamous Alecto review of Firefly has shades of this, combined with Straw Feminist. While it constantly attacks Joss Whedon and Nathan Fillion, accusing them both of being women-hating domestic abusive rapists, the review also constantly dismisses many of the female characters, notably Inara, who is referred to as 'a fuck buddy', while also insulting women who enjoy Joss Whedon's programming (calling them 'feminist lite'), and accusing Whedon's wife of being a gold digger only interested in his money, imagines that Whedon is abusive towards her, and then victim-blames her for the non-existent abuse.