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Quotes: The Chris Carter Effect
"ABC announced this week that it has renewed LOST for a fourth season. Said the show's writers, "Oh, crap.""
Amy Poehler during the Weekend Update, Saturday Night Live

"Mysteries that are stretched interminably to fill time are not magically made more mysterious."

The greatest entertainer is the greatest swindler!

"A story thatís made entirely of hooks simply begins to sting; thereís never any fish to cook."
Phil Sandifer on (you guessed it) Lost

"What's amazing is how automatically an audience will follow the creator's lead, asking the questions they assume the creator wants them to. Because of this strange phenomenon, authors must be careful not to lead the audience into dead ends, or raise questions he isn't prepared to give an answer for. Managing the curiosity of the reader is probably the most important task of (modern) fiction. 'Loose ends' that are completely besides the point to the author can easily become obsessed over by fans who demand closure. They feel entitled to know!

Most of the time this is seen as a golden opportunity to make sequels, constantly promising answers while leaving more loose ends dangling for next time...it's downright foolish to underestimate the curiosity of a fanbase, and dangerous to neglect it once it's been provoked."

"When 52 came out, it was supposed to bridge the gap in DCís 'One Year Later' gimmick, in which, after Infinite Crisis, all of DCís books jumped ahead a year, and there was a mystery created about what had taken place in that gap. At the time, I actually thought this was an exciting notion. You open the new Batman, and Harvey Bollock is back, and Harvey Dent is Gothamís protector, and youíre wondering, Ooh, how on earth did that happen? Structurally, itís a clever idea for a mystery. Then, these things were supposed to unfold within the storyline of 52, with, one would hope, exciting and surprising answers."

"Then
52 proceeded to answer none of those questions."

"I could never fully appreciate the Galen character as much as others seem to. We never find anything out about the technomages, what they want or how they can do what they do. This is by design, of course, but it's a little frustrating to know that Galen only now reveals that he can see at least thirty years into the future, never mind how.... Peter Woodward is also effective as Galen, but it's amusing to watch him speak with Straczynski in the DVD's special features, as even he says he knows nothing about his own character's background, desires, or drives. Woodward is basically relying only on his natural charisma and sheer guesswork. If you ask me, it's inexcusable for a director to leave an actor hung out to dry like that. How is an actor supposed to do a good job if he has no clue who he's trying to portray?"
Noah Antwiler on Babylon 5: The Lost Tales

"I realised about ten minutes from the end that the show was going to climax with the ship getting home and none of the temptingly dramatic issues concerning their return to the Alpha Quadrant were ever going to be dealt with. I literally crumpled on the sofaÖI have sat through seven seasons of extremely variable television with little but the promise of an exciting homecoming and even that was going to be denied to me. Worse than having to sit through some televisual excrement is that crushing feeling of disappointment that we werenít actually heading anywhere important. False promises leading to damp squib of a conclusion."
Doc Oho on Star Trek: Voyager, "Endgame"

"Smallville is a show that, by and large, simply does not hold up well to repeat viewings...gaping plot holes seem to swallow whole the events that precede them (e.g. most confoundingly the recurrent discovery and use of supremely powerful and ancient Kryptonian technology — cf. the portal in the Kawatchi caves, the orb in season eight — only and at almost no other time than is absolutely critical to further the story [i.e. what on earth is this stuff doing on Earth when it could have been back on Krypton saving Krypton?])."
Marc Pritchard on Smallville

"Whatever. I've learned my lesson. I've grown up. I'm less naive. I now know how television writing works. Get the cliffhanger image, work backward from there, don't worry about the resolution. Resolution doesn't sell ads. Once LOST is over there's no more ads to sell".

"The second episode [of Alcatraz] ended with what can only be described as the typical supposedly mind-fuck Lost-type twist - and I would've been more excited about that if Lost ever managed to actually explain/clear up it's shit in a satisfying way."

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