By guest blogger David Robson
Towards the end of the Disney film Aladdin, our hero’s love rival, the evil Jafar, discovers Aladdin’s secret identity and steals his magic lamp. Jafar’s wish to become the world’s most powerful sorcerer is soon granted and he then uses his powers to banish Aladdin to the ends of the Earth.
What follows next is a lingering, close-up of Jafar’s body. He leans forward, fists clenched, with an almost constipated look on his face. He then explodes in uncontrollable cackles that echo across the landscape. For many millennials growing up in the 1990s, it is an archetypical evil laugh.
Such overt displays of delight at others’ misfortune are found universally in kids’ films, and many adult thriller and horror films too. Just think of the rapturous guffaws of the alien in the first Predator film as it is about to self-detonate, taking Arnold Schwarzenegger with it. Or Jack Nicholson’s chilling snicker in The Shining. Or Wario’s manic crowing whenever Mario was defeated.
A recent essay by Jens Kjeldgaard-Christiansen in the Journal of Popular Culture asks what the psychology behind this might be. Kjeldgaard-Christiansen is well placed to provide an answer having previously used evolutionary psychology to explain the behaviours of heroes and villains in fiction more generally.