In modern storytelling, we are faced with a constant paradox: the fixed psychological need for endings and the increasing absence of mediums that are capable of giving them to us, much less satisfactory ones. This tension raises the question of why we need endings in storytelling and what we lose when we do not get them?

Epilogues are considered the endings in storytelling and originate from the Greek word epilogos or “concluding word”. They serve to complete a narrative arc, ensure emotional fulfilment and leave a lasting impression. For the average viewer, the desire for an ending usually means ensuring their favourite couple got together, proof the villain was defeated and confirmation that the world was actually saved. Depending on who you ask, these tropes may seem timeless or overdone but are in reality hardwired into our brains. Psychological research shows that humans have a preference towards endings because when evaluating an experience, the focus is primarily laid upon its “peak” and “ending” (Alaybek et al., 2022). It is difficult and costly for our brain to store entire storylines; therefore, it relies on mental shortcuts to form evaluations.

Endings specifically activate the recency effect (Murphy et al., 2006), or the tendency to value the most recently presented information, and thus largely determine how we assess and make sense of stories in media. Furthermore, endings function as closure mechanisms as the Zeigarnik effect explains; open-ended stories can cause mental distress and exhaustion as our brains work to try and reach a definitive outcome (Psychology Today, n.d.). According to Bluma Zeigarnik´s research, our brain is goal-oriented, meaning it keeps tasks that are uncompleted at the forefront of our memory, as our pre-frontal cortex works to achieve the intended goal or completion. Initially this can manifest itself as increased attentiveness or alertness (Masicampo & Baumeister, 2011) but over time can cause mental strain as a task remains incomplete. Therefore, effective and well-rounded endings aren´t just predictable, but an essential part of human storytelling.

Despite endings being universally necessary across media, modern storytelling is increasingly shaped by the audio-visual dominance of today´s film and television. In Germany alone, 9 hours of media consumption were reported a day, 90% of which were made up of audio-visual content (Yaunet, 2022). In comparison to the last century where literature was the primary means of communication, today´s entertainment media like film and television, as well as social media platforms like Youtube and TikTok, play a dominant role. This points to a larger trend of reliance on fast-paced, immediate and continuous media that has emerged in the past century with the help of digitalization.

This environment has particularly favoured the film industry which has grown in recent years thanks to its high volume of output and access possibilities. Just last year, the highest-grossing films included Avatar: Ash and Fire, Zootopia 2 and Ne Zha 2, all of which belong to franchises, or the expansion of a singular narrative into multiple different storylines and arcs. From an economic perspective, this expansion makes sense with sagas capitalizing off of audience familiarity in order to increase profits and decrease risks. This can be explained by vertical integration, or ownership across the supply chain, that digitalization has facilitated for media conglomerates.

One example of this is Disney, a huge production company that also has its own streaming platforms and cable network. Digitalization has made integration of both production and distribution by media conglomerates easier, allowing them to create content and reach consumers directly without relying on third-party intermediaries (North Idaho College, 2024). This combined with “the network effect” (Banton, 2024), or the phenomenon that the value of a product is raised the more people interact with it, makes franchises especially advantageous. They encourage consistent audience interaction across platforms through iterative storylines and characters, thereby maximizing profit and reducing costs through in-house production. Expandable narratives allow for long-term assets whereas endings, being finite, limit the opportunity for this kind of sustained engagement (Opitz & Hofmann, 2016).

At first glance, today’s entertainment industry appears successful with studies showing that enjoyment for movies, including sequels and reboots, has been especially high in the past few decades with 70% of adults reporting watching one movie a week (Pew Research Center, 2006). These numbers may encourage viewers and producers to view the current state of film and television as positive. However, storytelling has always served a purpose beyond simple hedonic enjoyment; throughout history, it has been a means of conveying meaning, culture, and values. From Casablanca´s depiction of the post-war change in world order to Do the Right Thing´s portrayal of race relations in America (Institute for Cultural Diplomacy, n.d.), there have always been lessons and inferences to be made from media.

Beyond just influencing the individual, media can also influence the social like the collective societal expectations of the public (Arias, 2019). Research shows that media like film can influence attitudes and shape behavioural norms in society (Showkat, 2017), such as acceptance towards marginal groups or perception of typical gender roles. As the Parasocial Contact Theory explains, social contact is one of the most effective ways to reduce prejudice from a majority group towards a minority group (Schiappa et al., 2005). Film and television have proven to facilitate this social contact as they simulate face-to-face relationships and encourage attitude change through positive associations, highlighting the importance of entertainment in driving change in the world.

As film and TV continue to deny us adequate closure in favour of endless continuation, due psychological processing is limited, and we are not able to fully assess and internalize the art we have consumed. This lack of reflection and understanding disrupts the creation of meaning, making it more difficult for storytelling to contribute to cultural progress. When art starts to drive in circles rather than documenting and analysing the world of today and when meaning becomes purely quantifiable, it becomes difficult for this generation to make sense of the world and perhaps more importantly, for the next as well.