A few months ago, we watched the fourth installment in the Mission Impossible series, and we couldn’t help but ask, “Why?” with each passing scene: why are all the operations, which are supposed to make the team’s mission move forward, ending up in failure? Especially when another course of action that was possible at the beginning of the scene would have allowed them to achieve the same goal? For example, after their mission to get into the Kremlin to discover a criminal’s identity doesn’t succeed, the big boss then comes along and tells them who the bad guy is. So why take such a roundabout path when a shortcut is available? Certainly, we understand the challenges faced by a writer who has to create an adventure that fits into a given time format. But such a convoluted storyline doesn’t seem a great way to create suspense. As it says in Pixar’s “22 Rules of Storytelling,” “Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.” (“Pixar and Joss Whedon’s Rules for Writers,” Russ Burlingame, comicbook.com, December 8, 2012).