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This article conceptualizes economies of spectatorship through a case study of the Sturgis Motorcycle Rally (SMR). Economies of spectatorship produce spectacular diegeses as commodities sold to spectators and sponsors. They develop through a dialectical process of progressive decontextualization as their diegeses are cross-marketed with discrepant products and services to reach new markets. Progressive decontextualization leads to diegetic incoherence that threatens the realization of profit. As an economy of spectatorship, the SMR produced an outlaw biker themed diegesis replete with vicarious action and consumable character gambles. The SMR progressively decontextualized as it cross-marketed its outlaw diegesis with establishment corporate, religious and political themes. The resulting diegetic incoherence threatened profits and required the SMR's producers to make significant investments in order to stabilize its flow of spectators and sponsors. Conceptualizing such inherently negating processes is critical to understanding the commodification of spectacle in mature capitalism.

Klaus Theweleit's Male Fantasies has generated broad interest in the literature of several academic disciplines. His analysis of the symbolic and gender dynamics of the leaders of the German Freikorps (German paramilitary mercenary units of the period 1918-1923) has been widely generalized into a theory of modern masculinity. Two issues inadequately explored in Theweleit's work nonetheless must be read through more recent empirical and theoretical work in history and sociology: (1) the formative role of colonial military experience in the careers of the German Freikorps officers who provide the material for his analysis and (2) the complex historical problem of the facticity of rape in Freikorps activity.

Megaspectacles are theorized as markets for a special economic object: trophies of surplus enjoyment. Attendees at megaspectacles were found to focus their activity upon trophy markets, trophy hunting and anticipated trophy display rather than spontaneous enjoyment of the staged event. Veblen's theory of trophies as invidious objects, and insights from Goffman, Lacan and Žižek, are used to explain these counterintuitive findings. Trophies function as distorting mirrors, reflective surfaces in which viewers misrecognize the trophy owner's apparent experience of legendary pleasures as their own dispossessed surplus enjoyment. Megaspectacles produce and sustain envy inducing legends and ritually load trophies with three forms of potential envy: status trophies (envy of symbolic prowess), action trophies (envy of imaginary risk taking) and trophies of jouissance (envious yet repressed desire for libidinal pleasure). Megaspectacles do not directly pleasure their attendees, but provide them with trophies of surplus enjoyment to disturb and disrupt the pleasure of others.