And if I said Megamind is one of the few movies that understands Superman.
And if I said Megamind through its three subversions of Superman shows a deeper understanding that the point of Superman is that he was loved and taught to love by good, present parents, and because of that he is able to return that love to a world even if it doesn’t always accept it, and he is not corrupted by his power, than many other films either subverting or playing the superman story straight.
Megamind has three Superman subversions. One is obviously Megamind himself. He was not raised loved by the world, but rather was loved by those hated by the world. Because he was still raised with love, he does care about other people, hence his character development. But because he didn’t receive wider love growing up, his own is misplaced at first.
Metro Man was not loved growing up in a way that mattered. His adopted father was clearly very absent, and while we don’t know much about his family, their relationship seems superficial. Because of this, his sense of duty to the world is also superficial, hence his boredom.
Hal wasn’t raised with power. He gained it and was shown how to use it by a ‘space dad’ who only taught him power and not love. Hence, he sees it only as a grasping means to an end.
All three of these subversions, in their negative space, create the silhouette of the superhero that they are parodying. That silhouette is of a space child that came to earth and was cared for very deeply by the world, and taught love through his experience of love, and because of that holds fast to his duty to the world. Which is Superman.
I want this person and this person only writing and directing Superman movies for the rest of my life
gfkjldghfd okay first of all I’m sorry for the confusion, if you’re not finding anything on the phrase it’s because I made it up and absolutely nobody but me ever uses it, but I haven’t found a better way to express what I’m trying to say so I keep using it. but now you’ve given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I’m going to take it.
SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren’t familiar with that concept, here’s a rundown:
diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it’s also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don’t really vocalize much in real life, but that’s beside the point, the horse is supposed to be actually making that noise within the movie’s world and the characters can hear it whinnying.
non-diegetic sound is any sound that doesn’t exist in the world of the movie/show and can’t be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that’s non-diegetic. it exists to the audience, but the characters don’t know their fight is being backed by sick ass music and, sadly, can’t hear it.
the lines can get blurry between the two, you’ve probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character’s car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.
now, on to how I apply this to bdsm in fiction.
if I’m referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there’s cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it’s all just a planned scene, and you’ll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they’re doing bdsm and are intentional about it.
if I’m talking about non-diegetic bdsm, I’m referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn’t want to be ravished but then it turns out he’s so cool and sexy and good at ravishing that she decides she’s into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don’t know they’re playing out a cnc or D/s fantasy, and in-universe it’s often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it’s almost always Problematic™ in some way if you’re not willing to meet the story where it’s at, but as long as you’re not judging it by the standards of diegetic bdsm, it’s just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can’t be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it’s consensual by default because it’s already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it’s all good.
this difference is where people tend to get hung up in the discourse, from what I’ve observed. which is why I started using this phrasing, because I think it’s very crucial to be able to differentiate which one you’re talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you’re in the mood for non-diegetic bodice ripper shit you’d call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.
it’s very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you’re okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.
but yeah, spontaneous writer plug aside, that’s what I mean.
i love how weird kids are. they make up the most bizarre stuff when left to their own devices and it’s never what an adult would naively predict a kid would do in their imaginative play
my friend’s 5 year old recently got a toy veterinary medicine set - it’s super cool, like one of those mini play kitchens a lot of kids have, but it’s set up to pretend to be a vet (it’s this thing) - it has stuffed animals and things to weigh them, give them medicine, take x-rays, write on their charts, etc.
so this kid, who is five and to my knowledge has no experience in the administrative bureaucracy of modern healthcare, puts a stuffed pig named Piggy on the exam table. she pretends to draw blood from Piggy using a fake syringe, and the blood goes into a toy test tube vial that she calls “the resulter”
i’m playing with her, right, so i’m like, awesome, what are the results of Piggy’s blood test? and she says “we have to send it to the scientists.” so we send the vial to the scientists (put it in her bedroom) and when we get back to the vet playset i’m like awesome what did the scientists say? and she says they have not gotten back to us yet
so she rolls her eyes, exasperated, and says we have to call the scientists. she pretends to call them. apparently, they tell her that Piggy’s blood test is “at the bottom of the list” and “we have to WAIT.” she frowns. we wait a bit longer and call them back. they tell us it will be a while! she says we should go ask the scientists in person so we go back to her bedroom and she inquires at this imaginary lab, at which point the scientists yell at her and tell her now they will make us wait even longer!
keep in mind she is 100% directing this play. she is making all this up. she is fully in control of this game, and she has decided that what we are going to pretend is that we are dealing with this exhausting nonsense, not actually treating Piggy.
finally the blood tests come back. they are inconclusive. the scientists do not know what is wrong with Piggy. the little girl walks back to the stuffed pig on the exam table, sighs deeply, and says in a very serious voice “we can never help you.”
i’m obsessed with this kid. when given complete control over a make believe scenario, instead of becoming the heroic rescuer administering effective cures, she is instead a beleaguered vet making multiple calls to an overworked lab only to be left unable to help her patient.
10/10 no notes. kids are amazing
I used to watch a toddler and this one time she decided that my arm stretched across a doorway was a magic portal to other lands. My arm was a boom gate type of thing that had to raise up to let her go through the portal. I was like, cool, we’re gonna go on adventures in some imaginary world full of stuff she likes.
Nope, she spent an hour troubleshooting and repairing the gate, which was broken in multiple ways. We never activated it.
