  Although Carroll’s thought theory seems to explain how it is possible to feel suspense in response to a familiar narrative, it does not  give an explanation for the typical scenario of diminishing suspense. If all it takes is entertained uncertainty (in addition to the  unnamed other contributing factors), why do some fictions loose their power for many viewers? A perfectly willing viewer may eagerly sit  down to re-watch a suspenseful film without feeling nearly the same  amount of suspense as on the first viewing. This scenario—that  of diminishing returns (to the same narrative)—is not merely  possible, it is common. This shows that entertained uncertainty is  insufficient for recidivist suspense—suspense felt  in response to a familiar narrative. Perhaps the defender of the  entertained uncertainty theory could reply by simply supplementing  the theory with an account of why it becomes more difficult or just  less likely for audiences to entertain narrative outcomes as  uncertain the more familiar they are with a story. 