  Yanal’s solution rests on the distinction between anticipation and  suspense. But lacking a clear phenomenal distinction between the kind of anticipation that viewers putatively confuse with suspense and  genuine suspense, we have cause to be suspicious. Since this kind of  anticipation and suspense appear to feel the same, the principal  difference, on Yanal’s account, must be that the reaction cannot be  suspense proper without the cognitive state of uncertainty. If so,  Yanal has simply defined the problem under the rug. Why, we must ask, do viewers feel “anticipation” in response to narrative situations  where they know the characters will survive unharmed? 