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.