"I don't care what happens to these people.
A phrase coined by Dorothy Jones Heydt in a science-fiction based Usenet
group in 1991 to describe an Audience Reaction
to a work of fiction where the characters are so universally bland, unengaging or unlikable that the reader simply loses interest in their fate and, by extension, the work as a whole. This can happen with or without the presence of more objective shortcomings
, but the most interesting examples tend to be those where this is a critic's main complaint, single-handedly dragging an otherwise well-made story down to where it's almost completely unenjoyable.
Note that "not caring about" a character is not the same as "not liking" them — some character archetypes, such as the Unsympathetic Comedy Protagonist
, are driven by the notion that watching horrible things happen to people that deserve them can be entertaining. In other words, even if you hate
the character, you still care
about what happens to them (because you want to see them get their comeuppance) so you'll still follow the story. This trope comes into play when even that fails to arouse sufficient interest.
try to avoid this by Developing Doomed Characters
, only to make the audience hate the characters more
for getting in the way of the slaughter they came there to see
Also often stated with added emphasis
as "I don't care what
happens to these people".
See also Darkness-Induced Audience Apathy
, where an excessively dark setting renders the protagonist's struggle so futile that the audience can't bring themselves to get invested in it even if the characters have some shred of likability.
Not to be confused with Seven Dirty Words
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- Moviebob on The Escapist makes this observation of the movie Monsters, noting that both leads are unsympathetic and Flat Characters.
- This review of Battleship outright invokes this trope, nearly word for word.
- Steven Spielberg gave this as his reason for striving to attain Adaptation Distillation for Jaws — he found the characters in the book so unlikeable he wanted the shark to kill them all.
- Invoked in-universe in Willy Wonka and the Chocolate Factory. Whenever one of the selfish children does something Too Dumb to Live that will clearly lead to their downfall, Wonka's response (if any) is almost bored: "Help. Police. Murder." after Augustus Gloop falls in the chocolate river, for instance.
- Peter Bradshaw expresses this view of Lawless calling it "an empty exercise in macho-sentimental violence", describing the supposed heroes of the film as flat heroes and the villain as "a pantomime baddie".
- Roger Ebert gave George Romero's Day of the Dead one and a half stars in part because much of the movie consists of "unpleasant, violent, insane" or ridiculously noble characters shouting at each other. And while he doesn't utter the eight words out right, he does say that in Romero's previous movies "we cared about the characters."
- Some people responded to Cloverfield this way. Apparently, that long, monster-free stretch of character development at the beginning just made some viewers decide the characters are neither nice enough to sympathize with nor bad enough to want to see eaten by a giant monster from the deep.
Live Action TV
- Dorothy Heydt coined the words when reading Volume Two of The Wheel of Time, and also applied them to a Fionavar Tapestry book.
- Mark Twain's essay ''The Literary Offenses of Fenimore Cooper":
10. They require that the author shall make the reader feel a deep interest in the personages of his tale and in their fate; and that he shall make the reader love the good people in the tale and hate the bad ones. But the reader of the "Deerslayer" tale dislikes the good people in it, is indifferent to the others, and wishes they would all get drowned together.
- Slacktivist's page-by-page review of Left Behind often notes how the main characters are far less likable than the villain - who, of course, is the Antichrist.
- Made worse since the authors believe that You Can't Fight Fate in the real world, and wrote a story with two Author Avatar characters who also agree with the Biblical prophecies the authors believe in. As a result, they grumble a bit about the Antichrist, but don't do anything because everything is still part of God's plan. Even the characters themselves don't care what happens until Jesus comes back and kicks the Antichrist's ass.
- The reaction is best summed up in "No Heroes":
These are books without heroes because they are set in a world without heroism — without the possibility of heroism. A world of inexorable prophecies and inevitable doom.
- The Musical of Musicals, a play that parodies various... well, musicals, registers this complaint about the works of Stephen Sondheim ("Unlikable people with lives that are hollow / It's all food for thought, but a bit hard to swallow...")
- Mother Courage and Her Children is a Bertolt Brecht work that is deliberately populated almost entirely by unsympathetic characters (Kattrin is the sole possible exception: she's mute and is victimized several times, but ultimately is killed during her futile effort to rouse sleeping villagers to the approach of the attacking army.) Even as each of her children are killed, the audience is discouraged from feeling any sympathy for Mother Courage; in fact, Brecht revised the ending following a production which he felt made Mother Courage too sympathetic to the audience.
- Many a Caustic Critic have this mentality when they're supposed to fear for a character's life. Special mention goes to The Cinema Snob and Phelous, since they review exploitation and horror films, respectively, with Phelous spewing a lot of hate at the Hostel movies especially for this flaw.
- The Annotated Series has this as a staple of comedy, as the annotators often cite not caring for any of the protagonists and instead paying attention to characters that aren't intended as significant or sympathetic.
- Max-Vader, veteran of the the Project A.F.T.E.R. forum and sometimes co-host of The Other Side has this as one of his main reasons why he hates Sugar Bits by Bleedman.
"I could forgive a bad story or clichéd writing if only the characters were likable and interesting. You see, in order to give a shit about the story, we need someone we can relate to — a protagonist with human character traits. A good example would be Luke Skywalker. In the beginning we get to know him, learn about his hopes and dreams, and start to care about him. I can't stress this enough: Be sloppy with your writing when it comes to your protagonist, and you can kiss the slightest hope for quality storytelling goodbye. Bleedman doesn't give a shit. Emotional baggage, "tragic" pasts or Jerk Ass behavior do not make a likable, deep or interesting character."
- This is Harry S. Plinkett's reaction to the Star Wars prequels.
- The Nostalgia Critic's largest complaint about The Last Airbender was that he didn't care about the characters because they seldom showed any emotion and simply told you what they were feeling rather than showing it.
- A sentiment expressed by some readers of Drow Tales, since the majority of characters are deeply unpleasant.
- Post-movie episodes of SpongeBob SquarePants that try to make the treatment of Squidward, Mrs. Puff and Plankton justified by having them act like assholes but do nothing to make SpongeBob, Patrick or Mr. Krabs sympathetic.