History Main / EndingFatigue

10th Jan '17 8:57:14 AM PDL
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* One of the many criticisms of the ''Best Wishes'' portion of ''Anime/{{Pokemon}}'' is its FillerArc of a final season. With the main plot of the series over and done with, and [[VideoGame/PokemonXAndY a bunch of then-new games]] coming up, there's nothing more for Ash to do except head back to Kanto... a goal that takes several episodes of island-hopping to accomplish, and unlike the Orange Islands series, there's no original goal or motive for him (or the audience) to invest in. After the ninth episode of pure {{filler}} in a row, you're begging for him to just hit home already.


* One of the many criticisms of the ''Best Wishes'' portion of ''Anime/{{Pokemon}}'' is its Decolore Islands FillerArc of a final season. With the main plot of the series (Both Ash's badge quest and dealing with Team Plasma) over and done with, and [[VideoGame/PokemonXAndY a bunch of then-new games]] coming up, several months before ''VideoGame/PokemonXAndY'' would have been released , there's nothing more for Ash to do except head back to Kanto... a goal that takes several episodes of island-hopping to accomplish, and unlike the Orange Islands series, there's no original goal or motive for him (or the audience) to invest in.in (The only thing of note is meeting a character [[EarlyBirdCameo from Kalos]]). After the ninth episode of pure {{filler}} in a row, you're begging for him to just hit home already.
10th Jan '17 8:49:43 AM axle-k89
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** "I Love It Loud" by Kiss. It starts to fade out and it seems like the end to the song, but it fades back in even louder, with just under a minute before the actual end. It then fades out again and the song ends.


** * "I Love It Loud" by Kiss. It starts to fade out and it seems like the end to the song, but it fades back in even louder, with just under a minute before the actual end. It then song fades out again and the song ends.again.
10th Jan '17 8:47:28 AM axle-k89
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** "I Love It Loud" by Kiss. It starts to fade out and it seems like the end to the song, but it fades back in even louder, with just under a minute before the actual end. It then fades out again and the song ends.
10th Jan '17 2:32:43 AM Miracle@StOlaf
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* ''Film/TheLordOfTheRings: The Return of the King''. From the destruction of Sauron to the actual end of the movie is almost 30 more minutes, during which the movie "fades out" ''six'' times! The effect is mitigated somewhat if one considers it the ending of a twelve hour film, and the conclusion of the entire film trilogy.


* ''Film/TheLordOfTheRings: The Return of the King''. From the destruction of Sauron to the actual end of the movie is almost 30 more minutes, during which the movie "fades out" ''six'' times! The effect is mitigated somewhat if one considers it the ending of a twelve hour film, and the conclusion of the entire film trilogy.trilogy[[note]]the source material is not actually a trilogy but rather a single DoorStopper book that was DividedForPublication[[/note]].
28th Dec '16 3:57:50 AM pinkdalek
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Sometimes, not only is a song [[EpicRocking unusually long]], but it will reach a point that ''seems'' like it's supposed to be the end but then keeps going. Sometimes a song will even have a fake-out ending ''intentionally''. In one of his humorous music-snarkery books, Tom Reynolds referred to this phenomenon as "Rasputin Syndrome" (after the Russian monk who famously survived [[RasputinianDeath numerous attempts at assassination]]).

* Half of the premise of this [[http://www.youtube.com/watch?v=GazlqD4mLvw old Dudley Moore pastiche]] of a Beethoven piano sonata. Even the pianist eventually can't hide his frustration.
* In ''Music/BillBailey's Remarkable Guide to the Orchestra'', there's a [[http://www.youtube.com/watch?v=MdO3u6ORlGM&t=57m1s musically-played-out argument]] between Bailey and the orchestra about which party gets the final notes of the performance. The orchestra plays different endings à la Dudley Moore.
* [=CDs=] vs. [=LPs=]. They both have their advantages and disadvantages as far as sound quality goes, but [=CDs=] can hold 80 minutes of music, while it's difficult to find an LP that can hold more than 50. Musicians feel compelled to fill up the entire CD so the listener can get their money's worth, which leads to lots and lots of [[AlbumFiller filler]].
* Several tracks by Music/GodspeedYouBlackEmperor don't really end as much as ''disintegrate''; once the crescendo of the song has been reached, the band will prolong the aftermath in ambiance or noise for minutes on end. Examples: "East Hastings" and "Static". Then there are tracks like "Storm" and "9-15-00", which will spend 15 minutes building on one idea only to shift into a completely separate-sounding coda.
** ''F# A# Infinity'''s vinyl edition ends on a locked groove. Thus, the last song literally goes on forever with two notes unless the listener finally takes the clue and removes the needle. FridgeBrilliance, natch.
* Music/{{Pendulum}}'s albums usually have final tracks that contain false endings, one of which is used incredibly well in "The Tempest" which ends their 2008 album ''In Silico'' with an EpicRocking part that goes on for 2 minutes. However, one particularly odd case is "Encoder", which ends 2010's ''Immersion''. There's a fade-in cymbal which you think marks the end of the song, then a Music/{{Coldplay}}ish part fades in that musically is [[BigLippedAlligatorMoment out of place completely with the rest of the song]]. then once you think it's over, we are subject to a full minute of water splashing and heavy breathing, then the song finally ends as a wham noise begins to fade in but cuts out. It's a good song, but it's annoying the first couple times you hear it.
* Music/BillyIdol's "Mony Mony" has a whole third verse when you've think you've gotten to the last chorus.
* Unearth's "Grave of Opportunity" ends with a very long guitar note. The guitarist then plays a quick riff and abruptly stops. What's worse is that this song is featured as a bonus song in ''VideoGame/GuitarHero World Tour''. It's a very fun song to play, but that last note is always annoying.
* Averted in Music/BlindGuardian's "And Then There Was Silence". The song has three such points, but they're all rather short and are used more like act breaks to shift points of view in the story. The song "The Maiden and the Minstrel Knight", however, does this at the end. The music and singing reach a crescendo, then start to trail off, then five seconds of silence and the music and singing come back, full force.
* Hunters & Collectors' "Throw Your Arms Around Me" is exactly this, especially its live version.
* Seemingly just to screw with the listener, The Flaming Lips' "Scratching The Door" starts fading out where you'd expect the song to end, only to fade back in. Then it happens again. And a third time. Then it finally ends. This takes up two minutes of the song.
* Mew's "Comforting Sounds". The song is done and dusted after four minutes; the remaining five minutes are spent repeating one theme about ten times. Granted, it gets some embellishments, and is [[EpicRocking more epic as it goes along]], but by the seventh time around the loop you're forced to wonder how much more they can do with it. And there's ''still'' an acoustic outro after what Guitar Hero might have called the End Wankery section.
* The Irish band Hothouse Flowers had one huge hit in the '80s, a song called "Don't Go". They now milk this for all its worth with a live version of the song that lasts for at least 20 minutes.
** The Eight Steps by Music/JoeSatriani, fading back in to continue the end solo that was going on before the fade out.
* ''WesternAnimation/{{Futurama}}'' has a bit of a SelfDeprecation in Beck's guest star episode. While singing a song, a standard time-cut is shown, and Beck ends the song, then says:
--> '''Beck''': Wow. That song usually doesn't last for three hours, but we kinda got into a thing... and then I forgot how it ended....
* Caïna's second album ''Mourner'' suffered from this a little bit.
* Anton Bruckner's symphonies go on for hours pretending to end.
* In a very rare CountryMusic example, Music/KeithUrban has done this a few times:
** He jams for about 2 minutes at the end of "Somebody Like You", and does some lesser jamming on "Better Life".
** "Once in a Lifetime" also shed about 2 minutes (out of a possible 6) between album version and radio edit.
** "Stupid Boy" is possibly the worst offender, as it's one of the only ballads he's done that's gotten this treatment. The song is 6:12 on the album, but only 3:46 for the radio edit.
** "Everybody" also has a lot of vamping, but with an orchestra instead.
* Music/WovenHand's "Animalitos (Ain't No Sunshine)" is 14 minutes long, with at least four fakeout endings.
* The song "Everything Right Is Wrong Again" by Music/TheyMightBeGiants is not especially long or boring. In fact, it's rather short and enjoyable. It is still very confusing to hear "And now this song is over now and now this song is over now and now this song is over now, this song is over now," and then have the song keep going for another minute or so. Oh TMBG, you amuse me so.
** Several songs on 1996's ''Factory Showroom'' went on about a minute longer than they really needed to.
* The Jesus Lizard's "Panic in Cicero". The song stops. The drums don't. For, like, two minutes. The majority of the song is the never-ending ending.
* Music/{{Motorhead}}'s "Overkill" has two false endings, before the double kick starts up again and the song continues. Though this was obviously intentional, given the song title.
* Adiemus' "Cu Challain" from their fourth album, ''The Eternal Knot''. The song pauses ''twice'' where it could and should end. As such, it feels like three songs Frankensteined together.
* Handel's ''Messiah''. After two hours, the final chorus has three distinct sections to it. The third of these sections consists of ten pages of 'Amen' sung fugal style, which was written as an afterthought.
** And the iconic "Hallelujah!" segment that everyone remembers ''isn't even the end of the piece''. It's just the end of the second part of three.
* Music/BryanAdams' "(Everything I Do) I do it for You" has a significant pause around 2:45 which most people remember, but it also has another one around 3:45 that most people forget about.
* Knights of the 21st Century by Music/HammerFall ends, then has about a minute and a half of silence before briefly reprising the opening, which consists of a few seconds of groaning followed by "Hell fuckin' yeah! The Prophecy!"
* Music/DeltaGoodrem has commited this trope twice, once in Believe Again, which has excess intro and outro to the tune of 80 extra seconds, and both the intro and outro could've been cut in half or not used AT ALL. The second time she did this was with Control which has an excess of 42 seconds free style singing at the end for no reason. It has a clear finale at the point of 3.19!
* The lyrics of Milliontown by Frost* end around 17 minutes into the song. The song continues with an instrumental section, which itself has a bit of a false outro, until around 25 minutes, where it apparently ends. After about 30 seconds of silence, a short piano section is played and the song ends at about 26 and a half minutes.
* "A Pleasant Shade of Gray" by Fates Warning has a bit of this. At the very end of the song, there is a short pause followed by the sound of an alarm clock ringing for about 15 seconds.
* Music/LadyGaga does this at the very end of "Poker Face". You think she's stopped singing, but she repeats the lines over and over.
* Music/{{Korpiklaani}}: The title track of ''Korven Kuningas'', which is also the final track, ends with a repetitive bit of booming percussion. This repeats for ''15 minutes'', three times the length of the actual song.
* "Even Rats" by The Slip has a rather long, repetitive wordless vocal coda.
* Video game music example: The "Castle" music in the [[TurboGrafx16 TurboGrafx CD]] version of ''Monster Lair'' (which used Redbook audio) has a really long violin solo that seems to go on forever before finally fading out (you'll only hear it all on a CD player). The boss music is also rather long, with half-a-dozen guitar solos and a TruckDriversGearChange near the end; in-game, the BossBattle will time-out before you hear the whole thing.
* Music/RelientK's song, Deathbed suffers from this. Several times throughout the song it starts to wind down or appear to be ending, only to suddenly start into another verse. After several times of this, one starts wishing the guy on his deathbed would just die already.
* Also, "I'm Your Captain" by Grand Funk Railroad. The song is pretty fantastic. Then you get to the halfway point and the singer keeps saying "I'm getting closer to my home." over and over again.
* "Everybody Hates My Guitar Sound" by Beat Crusaders (best known for [[GratuitousEnglish the fourth opening of]] ''Manga/{{Bleach}}''. Only its ending consists of a really long and bad guitar solo. They end up getting booed into shutting up.
* Music/{{ABBA}}'s "Gimme! Gimme! Gimme! (A Man After Midnight)" seems to go on for an awkward amount of time ''after'' starting to fade out. There's also an extended version which has a disco-inspired breakdown in the middle.
* The end of the song "Assassins" by Nachtmystium fits this trope. Who REALLY wants to hear an entire minute of the same synth buzzing noise over and over again?
* The song "...Before I Leave!" by Czech metal band Root. It clocks in at 19:36, but the last two-thirds of it consist of singing the final stanza repeatedly after the rest of the instruments have left.
* ''Music/YoLaTengo'' has a tendency to tack on 10-20 minutes of repetitive, anxiety-inducing noise-symphonies to the end of albums that in no way enhance the tone of the album, possibly in an effort to never make a perfect album. Most notorious examples: "I Can Feel The Heart Beating As One" and "Popular Songs."
* Done deliberately in the Creator/MontyPython song "I'm So Worried". Ending of third to last verse: "I'm so worried about whether I should go on, or whether I should just stop." Beginning of second to last verse: "I'm so worried about whether I ought to have stopped. And I'm so worried 'cause it's the sort of thing I ought to know." Beginning of final verse: "I'm so worried about whether I should have stopped then. I'm so worried that I'm driving everyone round the bend." Note that when the final verse starts, you hear the backing chorus ''come back into the room,'' as though even they thought it was over. You can also hear an audibly frustrated sigh in the background.
* Music/{{Chicago}}'s "Fancy Colours." It's a good song, but at the end, all you get is extremely loud obnoxious long notes repeated over and over.
* "Pretend We're Dead" by L7. "We're deeeeaaaaaaaaaad" about 12 times, with the only variation being a very short, simple guitar solo towards the end.
* Malcolm Arnold's [[http://www.youtube.com/watch?v=e5343nfOnkk "A Grand, Grand Overture"]], for comic effect.
* Music/{{Opeth}} seem to suffer from this trope a lot. Almost every song has a riff that seems to be cut short before being repeated with a remarkably machinelike(and monotonous)accuracy over and over again...and over again.
* Music/BruceSpringsteen's [[MisaimedFandom "Born In the USA"]] has a very long, drawn-out ending in which the chords repeat over and over while the drummer does some [[RuleOfCool cool]] fills.
* The tracks from Music/CaptainBeefheart's ''Mirror Man'' album. "25th Century Quaker" and "Kandy Korn" make up for it with their shorter lengths and neat ideas (the former showing off an Eastern, proto-Krautrock dirge; the latter containing a hilarious jingle for candy corn), while the title track and "Tarotplane" just go on and on with no variation.
* Potentially subverted with "Desolation Row" and "Stuck Inside of Mobile With The Memphis Blues Again", both by Music/BobDylan. While the songs basically contain the same verse sections with no bridges, the phantasmagorical lyrics have the listener wanting to find out what happens next. Still, it might be played straight for those not into Dylan's voice or lyrics.
** "Like A Rolling Stone" started out as this. Dylan had about 10 to 20 pages worth of verses and considering the average length of a verse was about a minute and a half, that version probably would've taken up an entire LP. Fortunately, Dylan picked the best parts and put them together in the form we know today.
* Music/SydBarrett's "Gigolo Aunt" is this to some fans. While the main part of the song is considered good, the ending jam just meanders.
* {{Invoked|Trope}} by Music/PaulAndStorm as an OverlyLongGag at the end of "Shake Machine" (as the separate track "Shake Machine, Part II"). The track consists of eighty-eight seconds worth of fake-out endings (and one final ending)...after Part I's already lengthy ending.
* The Music/BarenakedLadies song "Grade 9" has great fun with this trope, building up to two false endings before the real one.
* [[http://www.youtube.com/watch?v=3oimHJCURbo The Lambeth Walk]], the closer for the first act of ''Me & My Girl'', is a ChorusOnlySong that repeats for 5 minutes, [[TruckDriversGearChange changing keys each time]].
** [[UpToEleven Oh no, it doesn't stop there. You hear it ONE MORE TIME]] [[EarWorm as you go into intermission]].
** [[SerialEscalation But, come on, 2 reprises of the catchiest song in the show still ain't enough, let's do the WHOLE THING AGAIN at curtain call near the end of the show,]] [[AudienceParticipation AND THIS TIME LET'S GET THE ENTIRE THEATRE TO DO IT WITH US!!]]
* Autechre's [[DroneOfDread drone ambient]] piece "Perlence Subrange 6-36" is 58 minutes, and the second half is mostly a repeat of the first half.
* The several-minute-long harpsichord solo towards the end of the first movement of Bach's [[http://www.youtube.com/watch?v=49IOKnhX0Sk Brandenburg Concerto no. 5.]] It keeps sounding like it's going to end and the rest of the orchestra is going to come in, but no, the solo just keeps going.
* The finale of Music/JosephHaydn's String Quartet in E-Flat Major, Op. 33, No. 2, aka "The Joke", sounds like a normal rondo until the end of the piece, when there's a grand pause. Then he starts the piece over with the four-phrase main theme, with two measures of silence between each phrase - and then four measures of silence, followed by the first phrase again, at which point the piece ends, in the musical equivalent of the middle of a sentence. Audiences had no idea when to applaud, as the piece just kept going.
* Music/{{Pulp}}'s "The Day After the Revolution", the final track from their album ''This is Hardcore'', comes to a natural halt at around the five-minute mark; but a held strings chord continues for the next ''nine minutes'', at which point lead singer Jarvis Cocker helpfully bids us goodbye.
* The harpsichord flourish ending a recitative (the second movement) of the Music/PDQBach cantata ''[[http://www.youtube.com/watch?v=E_eW0Y-tFAY Iphigenia in Brooklyn]]'' (it starts around 2:35 in the video and lasts a little over a minute). P.D.Q. Bach has ''so much'' of this. Notes held for incredibly long amounts of time, little things that are four or five times as long as they "should" be... it's one of his most common gags, behind blatantly ridiculous instruments. A prime example is the ''Schleptet in E-Flat Major'', which opens with two insanely long-held chords, separated by the wind players taking a deep, loud, comical breath. (And these are not ''fermatas'' -- the opening is scored in a ridiculous time signature, something like 72/4.) In live performances, the usual ''schtick'' has the horn player black out from holding the second note, falling off the chair and taking the music stand to the floor with a crash. (Which, for a musician untrained in physical slapstick, can be hazardous, and has sometimes resulted in a damaged horn, or a damaged horn player!) He would also end pieces on unresolved chords
* Creator/AllanSherman has "The End of a Symphony," which directly addresses the tendency in classical music for long, drawn out endings. In the piece (which runs over eight minutes) he complains about this while offering multiple parodic examples.
* The dance remix of "Where You Are" by Jessica Simpson is 11 minutes, but mostly repeats the final refrain over and over for the last 5 minutes, preceded by a fake ending.
* These can be painful to listen to live. Any song with a FakeOutFadeOut and a not perfectly knowledgeable fanbase is going to end up with a lot of people applauding in the wrong place and then being very annoyed and/or confused when the song keeps going.
* Music/DinosaurJr's "Said The People" has what feels like a natural Solo Out conclusion, until it comes back for another verse, another chorus and ''another'' solo.
* Music/KanyeWest
** "Last Call", the closer from ''The College Dropout'', lasts 12 minutes, starting with an excellent 4 minute track and spending the last 8 minutes in a monologue of Kanye's career up to that point,
** "We Major", from ''Late Registration'', which goes on for a good two more minutes than it should,
** "Runaway", from ''My Beautiful Dark Twisted Fantasy'', where a SubduedSection about 6 minutes in leads into what can best be described as "three minutes of vocoder wankery."
** The music video version of "All of the Lights". It almost has beginning fatigue in the music video with the string orchestra intro, then goes on for instrumentals and repeats the chorus for almost a minute after where the radio and album versions end.
* Music/AlanJackson:
** "Long Way to Go" drags on and on because he repeats the chorus ''four times in a row'' at the end.
** "I Still Like Bologna" also has a third verse that basically spins its wheels and only drags the four-verse song down some.
** On "Country Boy", he couldn't decide whether to use one of two different bridges, so he just used both. And ''then'' he repeats the chorus twice on top of that.
* Music/TheWho's "Won't Get Fooled Again" has a keyboard break that goes on for half a minute, and you'd think that's when the song ends. Nope. After about half a minute, the break ends, then the rest of the band joins in.
** The album version of "Who Are You" is 6:27, and the single is only marginally better: 5:06. The US radio edit cuts it down to 3:27, slicing three whole minutes.
** "You Better You Bet" clocks in at 5:36, most of the second half of which is the chorus ("When I say I love you, you say you better / You better, you better, you bet!")
** Live versions of Who songs tend to get lengthened, even short ones like "Magic Bus", which becomes a ten-minute jam (though the fatigue is generally averted here).
* Art Blakey's legendary rendition of A Night in Tunisia last for about 11 minutes... of which, about 2 and half minutes consists of them winding down to ending. [[http://www.youtube.com/watch?v=FHKyVJ5YfNU Just take a listen for yourself.]]
* Arlo Guthrie's hilarious song "Alice's Restaurant" clocks in at a little over 18 minutes. It could easily have ended with the resolution of the littering plot... but then he reveals he came to talk about the draft for the Vietnam War, which is only somewhat connected to the littering plot, then starts talking about walking into a therapist's office singing "Alice's Restaurant", then gets the audience to sing it with him twice, which have to wait for the right spot to come around in the melody...
** In some versions, Guthrie lampshades it during the AudienceParticipation part: "I've been playing this song for 15 minutes. I can play it for another 15 minutes. I'm not proud... ''or tired''..."
** An updated version that Arlo sang in TheNewTens includes yet another monologue about an urban legend regarding the song as it relates to the Watergate scandal.[[note]]During tapes of Richard Nixon speaking in the Oval Office, there is a pause that's 18 minutes and 20 seconds long, which is exactly as long as the original recording of "Alice's Restaurant. Arlo then concludes that "Alice's Restaurant" has the power to topple empires.[[/note]]
* The Proclaimers' album track "Oh Jean" ends with four minutes of a repeated riff accompanied by singing of the title, both getting louder and louder, suggesting that any time soon they're going to launch into another rousing rendition of the chorus - but it never happens. Eventually the riffing just stops and the track ends there.
* Music/{{Catatonia}}'s "Karaoke Queen" proclaims in the chorus that "it's just a three minute song, it doesn't last very long". Uh-huh. It's a five minute song because the outro ("ooh sha la la, ooh sha la la" repeat) goes on forever.
* "Sylvie" by Music/SaintEtienne ''has'' to be lampshading this, with "Over and over and over and over again" about eleven times in a row - each one carefully timed to overlap the previous on the -gain of "again", resulting in "over and over and over and over a/over and over and over and over a/over and over..." etc.
* Spoofed by ''[[Series/{{KYTV}} Radio Active]]'' in their Music/StatusQuo parody "Boring Song (by Status Quid)". Each time the "final" guitar chord starts to fade away, the song starts up again, with lyrics {{lampshad|eHanging}}ing the song's apparent refusal to end.
* "Moonchild", by Music/KingCrimson. Basically a two and a half minute song with a ten minute long improv piece tacked at the end that goes nowhere. It got so bad that for the newest reissue Robert Fripp cut off about two minutes of it.
* Repeatedly PlayedForLaughs by none other than Creator/WolfgangAmadeusMozart in his four movement [[http://www.youtube.com/watch?v=wFPoRmsiFzc&feature=fvwrel A Musical Joke]].
* "Adonai", by Music/{{Hurt}}. The song ends... and then a quiet recording of someone chanting a prayer plays for a while (at least a minute) before finally FadingIntoTheNextSong.
* "Sinner Man" by Nina Simone seems to be ending at the eight minute mark, only to continue for another two minutes with some a cappella scatting and a drum solo.
* {{Music/Devo}} has been known, in concert, to play a thirty minute version of ''Jocko Homo'', in Mark Motherbaughs words, "until people were actually fighting with us, trying to make us stop playing the song. We'd just keep going, "Are we not men? We are Devo!" for like 25 minutes, directed at people in an aggressive enough manner that even the most peace-lovin' hippie wanted to throw fists."
* {{Music/Magazine}} intentionally invoke this trope at the end of [[http://www.youtube.com/watch?v=3dvUgtveuHU 'I Wanted Your Heart']], a song Nick Kent of the New Musical Express picked out as a masterpiece, which it is, right up until the last minute, when the band seemingly find themselves having some sort of vaguely Music/CaptainBeefheart style jam that seems completely out of place in the context of both the song and the album.
* The music tracks in ''VideoGame/OutRun'' loop their final section until you complete the race, which is especially annoying with "Magical Sound Shower", where it sounds like a {{broken record}}.
* Dance remixes and dance songs in general will sometimes have false leads outs, often containing little more than the beat, mid-way through the track to give DJ's a option to mix out. Often if you kept playing the track, you might get a repeat of the first part, a reprise that repeats or sometimes instrumentation. Worse case scenario is when the 'true' ending to the track will be a fade out or a cold stop (with no beat-only outro) making the DJ's wish he would have taken the mid-track lead out instead to get a cleaner mix.
* Donald Fagen, and Music/SteelyDan in general. The outros to his songs tend to start at about the halfway mark of the track and just. keep. going. Notable examples: "West of Hollywood" and "Tomorrow's Girls".
* Music/ElectricLightOrchestra's famous "Mr. Blue Sky" seems to have a proper fade-out at the 3:48 mark...but then goes into OminousLatinChanting and LastNoteNightmare for another minute and a half.
* Ravel's famous ''Bolero'' goes on for about 15 minutes, which is probably five times as long as it needs to be. It's like Ravel knew he was on to a good thing and didn't want to let go.
* Music/MichaelJackson became prone to this post-''Thriller''. Like Meat Loaf, he also has bad cases of starting fatigue.
** "Man in the Mirror" hits this at the "I'm gonna make that change/It's gonna feel real good!" part, since the previous chorus capped off with the na-na-nas was a perfectly fine way to end the song.
** The full-length version of the "Black or White" video has the notorious "panther dance" epilogue, which goes on for several minutes after the actual song has long since ended, and doesn't seem to logically/thematically follow on with what previously happened in the clip. The quick payoff with Homer and Bart Simpson really isn't worth it. (The album version has starting fatigue thanks to a superfluous Slash solo and a skit with the kid and the dad who wants him to turn his music down.)
** "Will You Be There" has ''two'' choral preludes, the first of which is nicked from Beethoven's Ninth Symphony (which initially went uncredited). Then, after he stops singing, he offers a spoken-word prayer to God. The single edit drops all this...and is thus slightly less than half the length of the album edit.
** The Brazillian favela version of the "They Don't Care About Us" MusicVideo goes on for almost two-and-a-half minutes after the song itself ends; the time is filled by an extended drum solo for the Olodum troupe, as Michael prances, mugs, and occasionally shouts non-words along to the beat. Not surprisingly, there's an official edit that cuts out most of this.
** "[=HIStory=]" could have cut at least a minute off its 6:46 running time if they'd dropped all the soundbites and recitations of famous dates in history from the beginning and especially the end. To make matters worse, while this would have been an appropriate closer for the ''[=HIStory=]'' album with its upbeat tempo and attitude, there's still two more tracks to go afterward: the {{Glurge}}-laden "Little Susie" and the CoverVersion of Creator/CharlieChaplin's "Smile", which itself has trouble ending.
* Sibelius' Fifth Symphony has a unique ending. The symphony builds to its conclusion in several waves of sound and at just the point where you might think there's nothing more to say... everything ends and there are six sudden explosions of whole-orchestra noise, like hammer blows, at two or three second intervals - six false endings, in fact.
* Colbie Caillat was guilty of this with "Breaking At the Cracks". Roughly a minute and a half or so of her repeating "Love, I need you back" ad nauseam.
* Music/JohnMayer's "Say (What You Need To Say)" ends with so many repetitions of the title phrase that one gets the feeling that she'd ''like'' to say what she needs to say, but he won't shut up long enough to let her do so.
* Music/NickCave and the Bad Seeds song ''Babe I'm on Fire'' without the Music video. Fourteen minutes of repeating fairly similar lyrics with each increasingly silly variation on who says the titular phrase being ending with the same musical sting that could be the ending.
* "Abacab" by Music/{{Genesis}}.
* "Suzy Q" by Music/CreedenceClearwaterRevival.
* Steve Vai's "Fuck Yourself" lasts for a reasonable four minutes... and then the '''entire song''' repeats with a guitar solo instead of lyrics.
* Music/LittleBigTown's "Boondocks". The coda with the repeated "You get a line, I get a pole / We'll go fishin' in the crawfish hole / Five-card poker on Saturday night / Church on Sunday morning" goes on for well over a minute. It was mercifully cut down on the radio edit.
* "Born to Fly" by Sara Evans. The album version has a nearly one-and-a-half minute instrumental ending.
* Music/TheMarsVolta. At one point during the last, 30-minute-long track of ''Frances the Mute'', you can feel the song itself getting a little tired.
* Enzo Siffredi's "High On Trumpets" is 7 minutes long, but after the climax comes (shortly before the 5-minute mark), the remaining 2 minutes are nothing but the dull, looping background percussion part -- almost makes the song sound like it was unfinished.
* "Texas (When I Die)" by Tanya Tucker. The chorus repeats ''six times'' at the end.
* The album version of Tony! Toni! Toné!'s "Anniversary" (on ''Sons of Soul'') is nine minutes and twenty-four seconds long. The actual song ends somewhere around 4:30. After thirty more seconds of repetition [[note]]"Do you know what today is? It's our anniversary."[[/note]], at around 5:00, the instrumental outro comes in, which consists of the entire song being played over again, but with different, almost drifting, vocals. Needless to say, the radio edit clipped the last five minutes.
* The song "Girls Like You" by The Naked and Famous, despite being SugarWiki/AwesomeMusic, suffers from this trope more than it should. It may be the last song on the ''Passive Me, Aggressive You'' album, but the song's ending patterns of distorted guitars and synths go on for 2 more minutes after the song actually ends.
* The Music/BobSeger song "Night Moves" has it happen very jarringly, with a fairly poignant line about how "the night moves... when autumn's closing in..." fade out, and then jump to an entire rehash of the chorus.
* Music/TheThe "Uncertain Smile". More than one radio moderator complained about the outro that seems to be longer than the rest of the song.
* {{Music/Metallica}} [[WordOfGod themselves]] stated that this was the reason for their going in a softer, more poppish direction. Kirk Hammett has stated that he isn't a fan of ''...And Justice For All'' because the songs were "[[CreatorBacklash too fucking long]]" and noted one incident in particular- a grueling concert during the ''Damaged Justice'' tour, where he saw "the entire front row yawn after the 8th minute" of the eponymous track.
* While he avoids it on his albums, Music/{{Prince}} has a tendency to let solos and instrumentals go on ad nauseam in concert. Concert versions of "Purple Rain" with play the last twelve or so bars, including the suspended note, ''twenty times'' before it properly ends!! And his controversial performance of "While My Guitar Gently Weeps," at a tribute show for Music/GeorgeHarrison, consisted for a 4+ minute electric guitar solo long after Tom Petty, Steve Winwood and Jeff Lynne ended the song proper.
* "Monoliths" by Lotus Plaza features a repeated coda that takes up slightly more than half of the song.
* In [[https://www.youtube.com/watch?v=U_t2gE1EsKU Supa Scoopa & Mighty Scoop]], Music/{{Kyuss}} plays the final riff ''nine'' times with increasingly prolonged pauses. This is the same group that eventually led to [[QueensOfTheStoneAge Queens Of The Stone Age]] - famous abusers of [[FakeOutFadeOut fake endings]] in their songs.
* Music/{{Low}} do tend to drone on a bit in their slow, minimalist rock workouts, but one example particularly stands out: "Born By The Wires" from the Songs For A Dead Pilot EP. The song ends with several minutes of a single chord being strummed every several seconds, stretching a nearly six-minute song to ''thirteen.'' It's either really mellow and hypnotic, or it'll just drive you up the wall.
* "I Can't Love You Back" by Easton Corbin is four-and-a-half minutes long, nearly half of which is an instrumental coda that repeats the main melodic hook ad nauseam.
* In the Creator/ElvisPresley song "Suspicious Minds", the song begins to fade out over the coda, only to then fade back ''in'' and continue in the same vein for another minute or so. Considering that the final lyrics when this happens are "I'm caught in a trap / I can't walk out / Because I love you too much, baby", this is entirely intensional.
* Just when you thought Hazel O'Connor's song "Will You" had come to a satisfying end, a couple of seconds later a brief drum riff leads into a blistering two minute sax solo by Wesley [=McGoogan=]. It's virtually two epic songs for the price of one.
* Trying to end one of Beethoven's symphonies is a very tedious process. For example, pointing to any phrase on the last two pages of the Seventh Symphony will give you a satisfactorily epic ending. BUT NO.
** The Fifth Symphony is also a big offender here. The Presto section at the end (beginning at bar 364 of 446), which is scored for full orchestra throughout, goes on for over six pages (out of just over fifty) and could achieve an epic ending almost anywhere after the second page, but instead it goes on and on and on. The last 29 bars of the symphony consist entirely of C major triads repeated over and over, until at last the orchestra plays a final-sounding C major chord... and then another... and then another... and then three more... and another... and finally a unison C. One has the impression Beethoven couldn't decide which ending to use, so he decided to use them all, one after the other. As noted by the commentary in [[Music/PDQBach Peter Schickele's]] "New Horizons in Music Appreciation", even just the first movement has some fake-outs.
---> '''Pete:''' Wait a minute! The brasses have taken the theme! They're not letting it stop! They're taking the theme and running ahead! Bob, this piece is definitely going to go into overtime, I can see that.
** The finale of the Ninth Symphony builds toward a fast, loud climax, but gets interrupted several times by abrupt slowdowns. By this point the lyrics of the "Ode to Joy" have been exhausted, so the words from previous sections are reused.
* Music/{{Gorillaz}}:
** Almost half of "Clint Eastwood" is [=2D's=] refrain being repeated several times and the instrumentals. Radio stations tend to cut out about half way through the instrumental portion.
** The Soul Child remix of "19/2000" repeats Noodle's section two extra times at the end, making the song about 2 minutes longer than the original version.

* Creator/RichardWagner was very, ''very'' fond of this trope.
** ''Tristan'''s entire third act is about the tenor dying and waiting for the soprano to arrive... and waiting... and waiting... and when she arrives and he finally dies, she also sings a (quite short) 7-minute monologue before the curtain falls. If the tenor is bad -- and he often is -- this act will make you wish he would [[WhyWontYouDie Just Die Already]]. Has naturally been [[{{Pun}} parodied to death]].
** In ''Theatre/DerRingDesNibelungen'':
*** ''Die Walküre'' has Wotan's endless farewell and the Magic Fire Music.
*** ''Siegfried'''s finale -- let's say it begins when Siegfried finds the sleeping Brünnhilde -- lasts for about 35-40 minutes.
*** ''Götterdämmerung''. Brünnhilde's Immolation is the basis of the "Fat Lady Sings" joke.
*** In a way they are also subversions, as the finales, especially "Wotan's Farewell and Fire Magic" and Brünhilde's Immolation scene are so good that the audience looks forward to them and they are also frequently performed on their own in concerts. While it probably is true to say that where the audience gets really restless is long scenes of expositional dialogue like in the second act of ''Die Walküre'' and the Norns' prologue in ''Götterdämmerung''.
** And then, ''Die Meistersinger von Nürnberg''[='=]s third act seems like it never ends, and at the end, it has Sachs drooling over how great German art is. At this point, singers are usually NOT in the right condition for a 10-minute monologue, after having had the longest role in opera history...
* ''Death in Venice''. The whole thing is about an aging tenor angsting over a bishounen, while nothing happens, and it ain't over till he lives. Only a great tenor can make it interesting, because it's really an one-man show.
* ''Theatre/{{Turandot}}'' can get a bit boring after Liu's death. It's practically Calaf and Turandot making a "who can yell louder" contest for about 20 minutes. See Siegfried above. (Well, it's not Puccini's fault, poor man died and a colleague finished it.)
* Puccini did pay mind to this problem with ''Theatre/MadamaButterfly'' by shortening its final aria and postlude.
* ''Don Carlos'''s final act. Elisabeth sings a massive aria, then an endless duet with Carlos. All while the best characters are either dead, exiled, or not present. Then thank God King Philip and the Spanish Inquisition appear and it ends very, very quickly.
* ''Theatre/TheMarriageOfFigaro''. The third act wraps up so many story lines, the fourth act can just seem unnecessary. It's when Basilio sings an aria telling an irrelevant story about when he was a younger man that the fatigue really sets in.
* ''Theatre/DonGiovanni''. A great opera, truly, but the whole thing could really have been wrapped up after the title character is dragged to Hell, with the curtain falling on Leporello's terror-stricken form. Instead we get another three arias about just desserts, and how everyone intends to get on with their lives - while the audience wishes they could. For that very reason, those extra arias were often cut in the 19th century, when people tended to be more interested in being entertained at the opera than in getting a complete work just as the composer had written it.

[[folder: Standup Comedy]]
* Creator/RossNoble is a huge fan of this and a good sign of [[TropesAreTools Tropes Are Not Bad]]. He'll start one topic of discussion or at least mention a story but then never actually finish it or tell the story until the very end of his routine (roughly an hour or two after the first mention) because he'll get distracted by something completely off topic and then loads of other discussions will come up. Except they all get tidied up at the end. He lampshades this constantly:
* BillyConnolly could be even worse at times. On one occasion, he had a routine at the Sydney Opera House go so far over time that the car park was locked with the audience's cars inside. There was also one documented case where he started a joke about a guy in a bathroom with holes in his penis, didn't finish it that night, and told someone in the audience annoyed by this that he'd have to attend the next show, in another town, to find out... then ''at'' that next show, during the wrap-up, there came a wail from the audience:
-->''"Billy! You promised! What happened to the guy in the bathroom?!"''

* OlderThanSteam: The fifth acts of many Creator/WilliamShakespeare plays are simply Shakespeare rushing to tie up all the loose ends and give a resolution to every character. There are several exceptions, of course, ranging from ''Macbeth'' to ''King Lear''. However, the worst offender has to be ''Antony and Cleopatra'', where there are at least half a dozen points where Shakespeare could have ended the story, if he wasn't so obsessed with [[KillEmAll killing every minor and major character]] save Octavian and his entourage. The ''final'' ending of the play, when Cleopatra commits suicide, is suitably awesome, however.
* ''Theatre/PaintYourWagon'': The big ensemble reprise of "Wand'rin' Star" sounds like a finale, but the show drags on for one more scene which does little else but bring the principal couple back together.
* ''Theatre/LoveNeverDies'': Christine once again making her choice between lovers would seem to ensure a quick wrap-up, as the loser graciously decides IWantMyBelovedToBeHappy -- but then we find out her son has been kidnapped. The final scene on the pier, which is over ''fourteen minutes long'', starts with a lengthy explanation of the villain's motivations, after which [[spoiler: Christine is fatally shot. She manages to reveal Gustave's parentage to the boy, and bid her farewell to him, ''and'' then share a final moment with the Phantom. ''Then'' Gustave accepts him as his father, they go off together,]] and the show ends.
* ''Theatre/MichaelJacksonONE'' has a bad case of this -- one would expect "Man in the Mirror" to end the show, given that it features [[spoiler: a Jackson hologram]] amongst the dancers, but after that the audience has to sit through most of "Can You Feel It" (which is mostly a video viewing), then a condensed version of the Macaulay Culkin TalkyBookends bit from "Black or White", ''then'' the cast reassembling for the song itself, which just becomes the curtain call after a few minutes.
* ''Theatre/IntoTheWoods'' is an interesting case of this. The entire recounting of the traditional fairy tales wraps up with the Act 1 Finale 'Ever After'. However, there's another HALF of the show left. This has led to many cases of people mistakenly leaving at the interval.

[[folder:Professional Wrestling]]
* ''Literature/TheDeathOfWCW'' cites this as the reason ''Wrestling/WCWMondayNitro'' moved from three hours to two, it simply being too long for a wrestling show that comes on every week.
* While it is true matches in the US had been getting shorter over the decades, that fans had been asking for a return to form, a common criticism Wrestling/RingOfHonor main events is that they tend to over compensate on that front, especially during it's earlier years. On Quebrada.net, for example, it was suggested the 75 minute ''Testing The Limit'' match between Wrestling/BryanDanielson and Wrestling/AustinAries should have been over at the forty five minute mark with Danielson crushing Aries, since the suggestion Aries could be out wrestled and punished for as long as he did and still mount a comeback was beyond their WillingSuspensionOfDisbelief, as did the suggestion it would take Danielson over thirty minutes, much less more than an hour, to reach the culmination of his game plan(even while they praised him as perhaps the greatest technical wrestler in the world).
* This tends to happen when long matches tease too many finishes. The Hell In A Cell between the Undertaker and Triple H was notorious for this. The last five minutes of it were made up of nothing but false finishes.
* As a whole, wrestlers on the indies are warned against making their matches longer than fifteen minutes and keeping false finishes to a minimum precisely for this reason. Fans tend to be more forgiving of this trope at something like [=WrestleMania=] whereas a small indie event will just bore the crowd.

* A number of fans have expressed such complaints regarding ''Toys/{{Bionicle}}'', though in this case, the trope is largely justified, as the writer, Greg Farshtey did intend to continue telling the story. But thing is, the main story was pretty much wrapped up mid-2010, the BigBad killed, the planet restored, a new civilization has been formed, TheHero delivered his final enlightening speech... as for the side stories, those hadn't been tied up yet back then. However since the new story serials tried to tell completely new stories instead of attempting to give closure to the ongoing plots, some would rather see the whole thing end, fearing all the story threads would just degrade into a similar [[KudzuPlot mess]] that some previous serials have become, especially since the writer is going through a horrendous ScheduleSlip. The main story's famous closing lines ironically foretold the situation:
--> '''"NEVER... THE END"'''[[note]]At least as long as uncle Franchise/{{LEGO}} allows Greg to continue playing in this world of his.[[/note]]
28th Dec '16 3:50:19 AM pinkdalek
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[[[[folder: Live Action TV]]


[[[[folder: [[folder: Live Action TV]]
28th Dec '16 3:49:51 AM pinkdalek
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Added DiffLines:

[[[[folder: Live Action TV]]
* Similar to ''The Lord of The Rings'', the Season 2 finale of ''Series/{{Lost}}'' has at least 3 perfectly viable endings, and has an unnecessary scene with Claire and Charlie between them, creating some ending fatigue. The endings are [[spoiler: Desmond turning the key, Jack having the bag put over his head and the ending with Penny answering the phone]].
* ''Series/BabylonFive'' lasted for five seasons. However, the main arc of the show (the Shadow War) was wrapped up in the fourth season's sixth episode. Its secondary arc (the Earth Civil War) was resolved at the end of the fourth season (it would've been by the fifth season's sixth episode or so but was compressed due to [[ScrewedByTheNetwork events beyond control]]). The fifth season was a PostscriptSeason which mostly consisted of "what comes after" stories, which at the end resolved the arc regarding Londo and the Centauri as well as letting all the characters slowly depart the station and move on.
** The Earth Civil War arc itself is seen by some, though by no means all, members of the fandom as this. On the one hand, Earth is clearly much less of a threat than the Shadows, so it makes sense to deal with the Shadows first and save Earth for later. On the other hand, the end to the Shadow War feels like much more of a natural climax, and once that's out of the way handling Earth just feels like wrapping up a loose end.
* The DVD commentary of the Christmas episode of ''Series/FatherTed'' has one of the ''show's creators and writer of the episode'' complaining that the plot has petered out, even exclaiming at one point "End! END!!"
* Subverted by ''Series/SixFeetUnder'', which has a satisfying (if cliched) conclusion 10 minutes before the end, but then goes on to have one of the most amazing, heartwarming endings ever.
* ''Series/DoctorWho'' sometimes runs into this:
** The farewell scene in "The Daleks".
** "The War Games" was Creator/PatrickTroughton's last story and intended at one point to be the finale of the show. The show at the time had been in TroubledProduction, and it had to be written quickly to cover ''several'' serials that had fallen through. It is ten episodes long, much longer than any other ''Who'' serial ever before and again. Creator/TerranceDicks has noted that it was possible to [[{{Padding}} pad it]] indefinitely because its premise (the history of human warfare) was a case of 'how long is a piece of string?', so they were able to add in new groups of human warriors to deal with whenever they ran out of story.
** "Pyramids of Mars" is one of the great triumphs of the Classic series, but Creator/RobertHolmes had an attack of writer's block about ten minutes of the way through the fourth episode and had to cobble the rest together from producer and director suggestions - and it shows. The first three episodes are suspenseful, gently funny GothicHorror with elements of family drama and a terrifying villain. The last episode starts with an amazing moment where Sutekh takes over the Doctor's mind, steals the TARDIS, and has the Doctor executed in front of Sarah's eyes by a henchman!... and then the Doctor's revealed to be okay via an AssPull of him [[NewPowersAsThePlotDemands developing a new power he's never shown before]], and the plot derails into {{Filler}} of goofy puzzle rooms, with Sarah even doing an ad-libbed {{Lampshade Hanging}} on its similarity to a (lame) previous script.
** "The Face of Evil" has a weirdly long ending. The Doctor restores Xoanon to sanity less than halfway through the final episode, and the rest is him chatting in the Tesh 'Sacred Heart' with Leela, chatting with Xoanon about what exactly had been wrong with him, the Sevateem and Tesh arguing over who gets to be leader, Leela helping with the debate... and ''finally' Leela facing the Doctor and demanding to come with him in the TARDIS.
** The episode "The Family of Blood" certainly has a drawn-out ending. First the Doctor dealing with the Family, then saying goodbye to Nurse Redfern, then saying goodbye to Latimer, then attending a memorial. Whether this fatigues you is personal variation.
** ''Journey's End'' spends the final quarter of an episode that had been extended to 65 minutes tying up all the loose ends. The ending where Donna has her memory wiped is quite climatic, but the ending had already dragged on, showing all the characters RTD had created, and showing a frankly ridiculous scene where the Earth is towed back to its original location.
** "The End of Time, Part Two" was the GrandFinale for the Tenth Doctor ''and'' Russell T. Davies's tenure as showrunner, so he used its final stretch not only to revisit previous events and companions, but also to realize ideas he had over the course of his tenure that he'd never managed to squeeze in. Thus, after absorbing a fatal dose of radiation, the Tenth Doctor takes his time paying his respects to ''every single one of his companions'' apart from the ones in the Christmas and Autumn specials -- ''and'' a few people who weren't, such as the great-granddaughter of the aforementioned Nurse Redfern. There are walk-ons by other past characters such as Midshipman Frame and a young Blon Fel-Fotch Slitheen, then he staggers around in the snow while the Ood sing him off, ''then'' he staggers around some more in the TARDIS, and then finally -- ''finally!'' -- he regenerates. As the DVDCommentary puts it, "It does have more endings than ''Lord of the Rings'', this, doesn't it?"
** Clara's death in "Face the Raven". It deserves plenty of focus and attention, because it's the first time a companion has properly, actually died since the 1980s ([[spoiler: even though it ends up not sticking]]). But after it becomes a ForegoneConclusion we get the Doctor arguing with Ashildr about trying to find a loophole, Clara giving a big speech to the Doctor, Clara giving ''another'' big speech to the Doctor, and then Clara going out to confront the Quantum Shade in slow-motion. Even when she actually dies, we see the Shade hitting her again, in several slow motion replays, from different angles. She is a controversial companion to start with, but even the fans who liked her were wishing she'd just get on with it and be dead.
* After they [[spoiler: ''finally'' find the ''real'' Earth (or rather ''our'' Earth, which is not the first Earth but merely named after it)]] in ''Series/{{Battlestar Galactica|2003}}'', the show spends a good 45 minutes on what all the characters plan to do with the rest of their lives.
** [[spoiler: And even that, having what could be considered a poignant ending during said stretch (Adama sitting on the patch of land he plans to build he and Roslin's cabin on), it continues to keep going.]]
** Also the end of Season 2, when they colonize New Caprica. Especially fatiguing is the fact that the episode is actually 90 minutes long, rather than the normal hour. If you don't know this going in, you may start to wonder just when the episode ''is'' going to end.
* ''Series/TwinPeaks''. Oh GOD Twin Peaks. Due to an unfortunate case of Executive Meddling, Laura Palmer's killer is revealed by the midway point of the second season, freeing up the rest of the season to focus on... James? Nadine still thinks she's a teenager? Civil war reenactments? The fact that the episodes are 45 minutes each does not help the situation. That being said, the episodes do have their moments, and it does build well to the finale, regarded as one of the best episodes of the series
* Noticeably averted in ''Series/StarTrekVoyager'', when the series ended when the ship arrives at Earth, much to the disappointment of many fans. This may have been the reason for the overly-long ending of ''Series/{{Battlestar Galactica|2003}}'', given Ronald D. Moore's desire to make an 'improved' Voyager with that series.
* ''Series/KamenRiderKabuto'' had it set in about episode 30. After that, expect to be facepalming as they try and fail to tie up all the loose ends.
* Even the most ardent fans of the Cook/Effy/Freddie LoveTriangle in Series 3 of ''Series/{{Skins}}'' admit that Katie and Emily's episode (which ends with Naomily's RelationshipUpgrade) is a better ending than the actual finale (which ends with SoWhatDoWeDoNow).
* For several seasons ''Series/{{Smallville}}'' was only nominally about the whole superheroic destiny thing and was vastly more concerned with Clark and [[DamselScrappy Lana's]] on-again/off-again [[SupernaturalSoapOpera relationship]], leading every single episode to wrap up its MonsterOfTheWeek plot around the 45-minute mark to allow Clark, Lana, Lex and sometimes Chloe to each have a little epilogue where they ruminated about their feelings. You know how when you watch most shows you look at your watch and think "They've gotta wrap this thing up in the next five minutes or it's gonna be 'to be continued'"? With ''Smallville'' you'd say that when there were 20 minutes left!
* Subverted in ''Series/{{Flashforward|2009}}'' in the episode "The Gift". The episode plays out like all the other episodes of the series, following a different aspect of Mark's investigation wall with a different police plot. Indeed, it is one of the more prevalent plot threads in the first part of the season. However the culprit is locked away, and everything seems to be finished by about 30 minutes in. Ending Fatigue should set in for the remaining 12. However, it uses this time to create a brilliant TwistEnding that plays on the emotional undercurrents of one of the characters in the episode.
* Averted quite noticeably in late-70s/early-80s British TV show ''Series/TheProfessionals'', where the credits often ran straight after the scene in which the bad guy was caught or shot (or the objective achieved). In such cases there were just a few seconds of terse post-action dialogue or banter before things finished. Where epilogue scenes did exist, they were still fairly short and no-nonsense.
* Parodied by (of course) ''Series/MontyPythonsFlyingCircus'' [[http://www.youtube.com/watch?v=9iDiMXTx5wU here]].
* The series finale of ''Series/HannahMontana''. [[{{Padding}} Or basically any two part episode, come to think of it.]] It was particularly tedious because the entire last season was a rushed mini-season with less than half the number of episodes a regular season had.
* The season four finale of ''Series/TrueBlood''. The season's BigBad is defeated halfway through, which is followed by half an hour of character stuff that ranges from moving to "Shouldn't this be over?" But the last few minutes make up for it with a mind-boggling number of character deaths and cliffhangers. The fifth season is much worse. Even viewers who didn't suffer ArcFatigue from The Vampire Authority's plotline were ready for a conclusion of some sort. Instead, the whole season ends right at the climax.
* Parodied in an episode of ''Series/{{Frasier}}'' when he is reading a novel that an old friend of his wrote, based on a story he told him. Fraiser notices the end ludicrously overuses metaphors, and skips to the end. The series finale is also a case of this, as the writers wanted to have an ending for as many characters as possible.
* ''Series/AmericanHorrorStoryMurderHouse'', after ending climatically and pretty definitively, covers twenty minutes of the [[spoiler: Ramos family buying the house and being scared off by the then-recently deceased Harmon family]], ends dramatically again, and then has a 3 year time skip to reveal beyond a doubt [[spoiler: that Tate's baby really was the anti-Christ]]. ''Even worse'' in ''Asylum''. [[spoiler: Every BigBad has been killed off]] by the third last episode, and the viewer has to sit through two and a half episodes full of nothing but loose-end tying.
* The final double-episode of season 7 of ''Series/HowIMetYourMother''; it ''should'' have ended with the birth of Marshall and Lily's baby, [[spoiler:but then we find out that Barney proposes to Quinn, ''then'' it cuts to "a little ways down the road," where we find out the bride is ''Robin''.]]
** The entire final season. There are multiple perfectly good ending points, and the real ending is a rushed series of flash-forwards that create loose ends just to tie them up five minutes later.
* Happens InUniverse (thankfully mostly off-screen) with Sue and Brad's school play in ''Series/TheMiddle'' episode "The Lonliest Locker". Unable to agree upon an ending, they use all of the endings they came up with. This leads Brick to comment that he likes the third ending the best.
* ''Series/ScreamQueens2015'''s first season finale was criticised for this, being made up of mostly the killer's narration explaining the backstory of everything. Once that's over with, there's about ten minutes dedicated to trying to wrap the episode up.
26th Dec '16 7:41:09 PM IAmNotAFunguy
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** [[VideoGame/PokemonBlackAndWhite2 The sequels]] to the Gen V games returned to the Gen IV style plot progression after the major twist of the previous games. After dispatching with Team Plasma for the final time as well as catching the game's OlympusMon you still have one final badge and the Elite Four and Champion before the credits roll. Once again afterwards there is no more plot to speak of as you explore the rest of Unova, including the Southeastern part which held the first quarter of the story from the first games. Like the previous games trainers in these areas have Pokémon ten levels higher or so than you would be by that point in the game requiring more grinding. Fortunately the games also introduced the Pokémon World Tournament which allows for trainers to be battled [[NostalgiaLevel from previous games in the series]]


** [[VideoGame/PokemonBlackAndWhite2 The sequels]] to the Gen V games returned to the Gen IV style plot progression after the major twist of the previous games. After dispatching with Team Plasma for the final time as well as catching the game's OlympusMon OlympusMons you still have one final badge and the Elite Four and Champion before the credits roll. Once again afterwards there is no more plot to speak of as you explore the rest of Unova, including the Southeastern part which held the first quarter of the story from the first games. Like the previous games trainers in these areas have Pokémon ten levels higher or so than you would be by that point in the game requiring more grinding. Fortunately the games also introduced the Pokémon World Tournament which allows for trainers to be battled [[NostalgiaLevel from previous games in the series]]
26th Dec '16 11:30:05 AM IAmNotAFunguy
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** ''VideoGame/MetalGearSolidVThePhantomPain'' continues the tradition, with Skull Face being killed and Metal Gear Sahelanthropus destroyed in Mission 31. However, there's 50 missions total so the game drags on for another 19 missions to wrap up minor sideplots and introduce MORE sideplots that never get resolved. Also, half of those 19 missions are actually just rehashes of the some of the first 31 mission with increased difficulty. And the icing on the cake was that there was supposed to be a massive 51st mission that was supposed to wrap up all of the still unresolved plot points, but it was ultimately cut from the game.


** * ''VideoGame/MetalGearSolidVThePhantomPain'' continues the tradition, with has Skull Face being killed and Metal Gear Sahelanthropus destroyed in Mission 31. However, there's 50 missions total so the game drags on for another 19 missions to wrap up minor sideplots and introduce MORE sideplots that never get resolved. Also, half of those 19 missions are actually just rehashes of the some of the first 31 mission with increased difficulty. And the icing on the cake was that there was supposed to be a massive 51st mission that was supposed to wrap up all of the still unresolved plot points, but it was ultimately cut from the game.
26th Dec '16 11:25:53 AM IAmNotAFunguy
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[[folder:Literature]][[folder:Video Games]]
This list shows the last 10 events of 1077. Show all.