  Aaron Smuts defends the desire-frustration theory of suspense, which  holds that the frustration of a desire to affect the outcome of an  immanent event is both necessary and sufficient to create suspense.  Whereas Carroll revises the first claim, Smuts simply denies that  uncertainty is necessary for suspense (Smuts 2008). Smuts appeals to  examples such as Psycho—which are more suspenseful on  repeated to encounters—and historical re-enactments such as  Touching the Void (2004)—where the audience knows the  outcome before the first viewing—to support the claim that  uncertainty is unnecessary for suspense. 