The New Era Speech
is all well and dandy, but it presumes the villain has some reason to be halfway honest
about things. And let's face it, it's usually for no better reason than to amuse themselves.
However, your more devious villains
find it more amusing to put all their craft of eloquence into a speech that the members of the audience - but usually not the surrounding characters - know flies in the face of everything that has happened.
The audience won't know whether to shake their fist in rage or their head in admiration.
A common case is that the villain has just scored a major coup, and now has to give a speech of deep sorrow and swift action regarding said coup. At other times, it'll be a masterful work of damage control, where the damage isn't so severe that they'll require a Motive Rant
instead. In any case, chances are it will rally the Gullible Lemmings
to their side at a vulnerable moment.
- Rob Pierre, at the end of an early Honor Harrington book, uses one to solidify his, you guessed it, Reign of Terror.
- A bit later, a Grayson Steadholder commits an epic dodge against all possible accusation, drastically souring the basic end-scene formula for most of the books up to that point.
- Light Yagami gets a particularly infuriating one in Death Note - perhaps twice in the same episode, depending on how much emotional melodrama you think a monologue can stand before it stops being a speech.
- Vayne in Final Fantasy XII is introduced with a remarkably low-key Bastardly Speech. It's so well-done that the only reasons you know he's the villain are that he's incredibly pretty, and the guards apparently don't want to make him angry.
- Palpatine's speech in Revenge of the Sith is a less critically-acclaimed example.