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WWE RAW Discussion Thread - June 24, 2013 from North Charleston, SC (#1048)


TPIB
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http://www.talkwrestlingonline.com/images/shows/raw2012.png

 

When

United States: LIVE, Monday Night, June 24, at 8/7c on the USA Network

United Kingdom: Tuesday Morning, June 25, at 1AM on SkySportsHD3

 

Venue

North Charleston Coliseum in North Charleston, SC

 

Confirmed Matches/Events

 

Randy Orton vs. Daniel Bryan

 

Build to Money-in-the-Bank

Edited by TPIB
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The ending's transparent, but the middle isn't. It's one of those "bomb under the table" stories, we all know what's going to happen, but we don't know how it's going to get there, which adds to the tension. It's like in American Beauty, in the first twenty seconds of the film, you know Kevin Spacey dies, but the tension is in finding out how he dies, who kills him, and feeling the sense of urgency because you know what's coming and he doesn't.

 

As Alfred Hitchcock, you coined the term "bomb theory", said;

 

There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean.

We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"

In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.

Edited by John Hancock
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