Egg Stuff

gaylecleven:

where the hecking hell is my gosh darn Buddie fic

(via lizgarcia9312)

just-shower-thoughts:

A Caesar salad somewhere had an expiration date of March 15

theredscreech:

ignissa:

micaxiii:

vegalocity:

revenblue:

noddytheornithopod:

radioactivesupersonic:

So, incidentally, my experience with the movie Megamind is that I ended up watching it backwards in a hotel once when I was younger and nothing else was on. And by “backwards” I mean, the first day I only caught the latter half of it and then it was on again the day after and I saw the first half.

That said, that one dang scene, is kind of an immortal one in my mind, because it’s one that has a lot more depth than it seems to.

The part that people often miss is that right after that pithy one-liner of how the difference between a villain and a supervillain is presentation… that whole conversation gets context.

Because Titan makes an immediate lunge for Megamind.

And immediately gets crunched by the giant head, and stuck in that situation because Megamind just drops out of the bottom, to a waiting vehicle, and maneuvers around him to focus on the actual issue: rescuing the hostage while Titan’s occupied.

That whole setup isn’t just, “watch me out-drama you”, it’s showing off an actual tactical asset.

Because Megamind as a character is someone who was always, always motivated by getting attention. The reason why Roxanne is never afraid of being his hostage isn’t because of her unshakable faith in a rescuing hero as much as it is that she knows, ultimately, what Megamind is doing is overwhelmingly a show. His atrocities are symbolic in nature. When he actually needs to take somebody out he dehydrates them into a cube for a while. And it’s not just Roxanne that calls him on this, either- Metro Man’s entire retirement scheme hinged on the idea that Megamind really didn’t need someone keeping him at bay from innocent civilians, because, as we’ve seen, innocent civilians really don’t have much to fear from him. Ultimately he is still, actually, just a kind of needy person desperately looking for validation and approval, neither of which can be provided by dead people.

But that’s not to say he can’t actually fight. Like any actual proper magician, he knows how to hold attention and an element of danger is how that works. He’s actually brilliant, and plenty capable of raising genuine hell.

However- he’s been doing this stageshow thing for ages. He’s mastered this. Titan may have him outgunned practically in every respect- but the guy has no conceivable head for subtlety.

So the real kicker to that whole setup, is this isn’t just Megamind being Megamind for the sake of drama- this is Megamind knowing exactly how easy Titan is to bait, dangling the largest trap he could possibly conceive in front of the guy, and doing it in an unapologetically glorious manner as any true performer would.

“Presentation” is not a superpower to be overlooked.

Realising Doofenshmirtz from Phineas and Ferb is like this really makes me wonder if there’s a name for these kinds of villains who aren’t really villains.

Yeah, I thought of Heinz too. How could I not?

I feel like they’re both in the same boat. Raised to think they were “bad” and “wrong” and “evil” for things they had no control over (Megamind growing up in a prison and being treated like he belonged there, Heinz’s parents being uniformly terrible all around), then once they were adults they decided you know what, I’m gonna be evil!!! Taking the label they’d been given and embracing it.

To quote another post, “People by and large live up to or down to the labels we are given.”

Neither of them felt like they had any option but to become Evil, but hoo boy were they going to put their heart and their natural talent for showmanship into performing evil. Because it’s all about the presentation.

And it worked. People saw them as evil, gave them the attention they so desperately craved, and even though it was all negative at least they’d earned the hatred this time.

I’m not sure there’s a name for this as a character archetype, alas, but it’s something that’s pretty relatable to a lot of peeps (as seen in that first link), and the fact that both Megamind and Heinz were redeemed at the end is important, it’s a sign that you are more than the labels people assign to you, that you can be better than that.

And hey, no reason you can’t put on a good show along the way~ ;)

I’m gonna call them ‘Theater Evil’

@darkwingsnark

Perfomative evil is very different from genuine evil which is why they can so easily come across as sympathetic and multi-faceted; Doof and Megamind seem to gravitate towards the aesthetics and symbolism behind the societal image of “evil”, but neither of them hold any intrinsic values that can really be considered evil. This is why neither Perry nor Metroman genuinely dislike or fear their villainous counterparts, and to some extent are themselves partially responsible for enabling their actions through playing their own roles in the performance.

Performative evil = aesthetics and symbolism of evil. Nice!

(via shibadva)

pikapetal:

much uwu about nothing

(via cynicalv0id)

rolingstoneboycomplex:

when Lemony Snicket wrote “I will love you if I never see you again, and I will love you if I see you everyday” that hurt me

(via sebastianstanssweetass)