  A further problem with Gerrig’s theory is that it cannot account for  a common phenomenon of repeated viewing, namely that with knowledge  of the outcome of a story we are able to notice things that we might  otherwise find unexceptional. Take Hitchcock’s Shadow of a  Doubt (1943) as an example. Early in the film, aspects of Uncle  Charlie’s behavior that might otherwise go unnoticed seem like  obvious evidence of his murderous past on repeated viewings. This  common experience requires the same kind of recall abilities that  Gerrig thinks are necessarily retarded. If there were, as Gerrig  suggests, “a systematic failure of memory processes to produce  relevant knowledge as the narrative unfolds” then our ability when  informed by knowledge of the narrative outcome to notice new clues  upon a reviewing is utterly mysterious (Gerrig 1997, 172). Since the  moment-by-moment forgetting theory implies that one cannot both feel  suspense on a reviewing of Shadow of a Doubt and notice new  clues during the same scenes, it appears to conflict with the  evidence. 