“Across all three genres spoilers actually were enhancers,” said Christenfeld. “What we found, remarkably, was if you spoil stories they actually enjoy them more.”Ĭhristenfeld repeated the experiment with three different genres: mystery stories containing a “whodunit” moment ironic twist stories, where a surprise ending crystallizes the whole story and literary fiction with a neat resolution. “’In this, the classic story in which the woman murders her husband with a frozen leg of lamb…,’” said Christenfeld nonchalantly as an example. The other group did the same, but the researchers spoiled the narrative, as if by accident, by giving them a short introduction. One group simply read a story and rated how much they liked it at the end. In the initial experiment, his team had subjects read short stories from various genres. So Christenfeld decided to put spoilers to the test in the most straightforward way possible: by spoiling stories for people. Yet research has found that having extra information about artworks can make them more satisfying, as can the predictability of an experience. Intuitively, killing the surprise seems like it should make a narrative less enjoyable. If you’ve ever gone to considerable lengths to avoid hearing who won the big game, who became the latest dragon snack on “Game of Thrones,” or who Keyser Söze really is (it’s Kevin Spacey), you’re in good company. “We asked lots of people, ‘Do spoilers ruin experiences for you?’” said Christenfeld. Or at least that’s how they’re portrayed. If suspense, surprise and satisfying resolutions are the heroes that save a story, spoilers are the villains that try to, well, spoil everything. I became curious about what it is about fictional narratives that attracts people.” Enjoying the spoils “People spend enormous amounts of time devoting themselves to completely made-up stories. “Fiction is a peculiar thing when you stop and think about it,” said Christenfeld.
Does fiction really have to work that way? What makes people enjoy or not enjoy a story? There needs to be a challenge, and the person overcomes the challenge or succumbs to it, and then has learned something at the end.”īut as he was explaining it, he paused to think. “I tried to explain to her, no, no – stories need arcs. “She wrote a story where someone wakes up in the morning and does one thing, and does another thing, and does another thing…and then goes to sleep,” said Christenfeld. 1 by the University of California on YouTubeĬhristenfeld’s interest in storytelling was sparked by his daughter’s elementary school homework assignment. “Themes of coercion and control and gaslighting and trauma bonding all became a big part of it.Fig. The “Resurrection” script was initially inspired by Semans’ “anticipated fears around parenting." But also at the time, the filmmaker says he had a friend in “a very unhealthy, unpleasant relationship with a very toxic individual” and became fascinated and terrified by those kinds of abuse dynamics. And now David is back in her life two decades later saying Ben is still in his belly, crying for his mother. Margaret became pregnant and gave birth to their son, Ben, but one day the infant disappeared and David told her that he ate him, forcing a distraught Margaret to flee. In an eight-minute monologue (where the camera doesn’t stray from Hall’s face once), Margaret finally reveals her troubled backstory: She met David when she was her daughter’s age and they fell in love, but he quickly turned abusive and manipulative. Rebecca Hall's embattled mom speaks her truthīut wait, it gets weirder. Review: Don't walk out on David Cronenberg's bizarre and insightful 'Crimes of the Future' “So in my next movie, there will be no depictions or descriptions of harm coming to any infants, I promise you.” “Now having a baby just in the next room, I might have the same reaction that he did,” Semans says. He recalls filming the scene with a “very lifelike prosthetic baby” that disturbed his assistant director, who had young children at home.
It is a baby that has been trapped far longer than it should have been inside.” Semans wanted to move the narrative in “possibly a more uncanny or surreal direction” as well as hint “to the content of Margaret's fears (and) her terror,” he says.
She opens it and finds a charred, lifeless newborn who suddenly cries out, waking her from the dream – and leaving the audience shaken. That charred baby dream is the stuff of nightmaresĪfter Margaret first spots David, she’s in her home and sees smoke coming out of the oven.
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