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It's also a reason why the Silent Treatment can be an especially damaging punishment, both emotionally and sometimes even physically. This is one horror trope everyone is familiar with. In Real Life this trope is why it's terrifying to walk through a familiar dark room by yourself, through the woods or a secluded street at night. Anything will do as long as the result is scary. Since the space is empty, it may also appear as a part of Space Madness, usually as the second variant. This trope can be used in combination with several other tropes Through the Eyes of Madness, Darkness Equals Death, Quieter Than Silence, Leave the Camera Running, Mind Screw, Kill the Lights, and Obscured Special Effects are some examples. The camera might slowly close in on the "nothing", either as a character musters the courage to open the door, enter the dark depths, or cowers abjectly at the impenetrable darkness. Scare chords and cues may be used to reinforce the effect, but it seems to work best when there's no music at all. Another variant (which has admittedly become discredited as Technology Marches On) is The Calls Are Coming from Inside the House. Perhaps the most common method of showing this is Nobody Here but Us Statues, when not played for comedy. and then you realize there is something there, and it's been there all along.

The third variation is where there's nothing there.

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The full version is when there really is nothing happening, but the result can be several magnitudes scarier than the classic version, because the audience is left to imagine what could have happened.

Of course, they sigh when they see nothing, and then they turn around again, and WHAM! Both of these methods alternate between being the norm, in that they can still keep the tension high, even when expected. Many times, what the directors do is make the character look around with some small light source (flashlight, cellphone, camera flashes) for a mysterious noise, then turn around right when the suspense reaches its peak. Even if it is, it's not going to have nearly as much impact on a viewer who's been anticipating it for the last minute or so. note Stephen King once said that the actual presence of the "big scary thing" itself tends to be the cause of the letdown - whatever they actually show is unlikely to be worse than what we were expecting. It has been done a million times, and is often poorly executed, ending up with the killer/monster/whatever apparition being less scary than the preceding sequence.

The classic version, where the moment serves to build up suspense and tension, until something scary suddenly jumps at you from elsewhere.

It often has to do with where the events are happening, generally because said place is inherently scary, but sometimes merely because of the way it is filmed or described. It does so for one simple reason: the creator refuses to show us what's causing this horror, but we desperately wish to know, so imagination fills in the blanks and our minds provide the content, using what the individual considers scary. When properly done, it can result in terrifying moments. This is a Horror trope where fear isn't induced by a traumatic visual element or by a physical threat, but by the sole lack of event.

The newspaper did not respond to requests for comment.Silence Is Golden. The West newspaper put the result on its front page but had an awkward gap between its live blog being removed from the top of its website and stories replacing it on Thursday afternoon.

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Seven West Media group, which employed Roberts-Smith throughout the trial and is controlled by Kerry Stokes, Roberts-Smith’s financial backer, took a more muted approach. Peta Credlin, the commentator and former chief of staff to prime minister Tony Abbott, declared she “won’t join the pile-on against Roberts-Smith” in a feat of whataboutism.

James Campbell, the national weekend political editor for the tabloids, argued that defending Roberts-Smith “insults all Diggers”.

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Its coverage led with the fact of Roberts-Smith’s defamation loss, with commentators diverging on how to interpret it. News Corp, which has previously published soft-focus stories on Roberts-Smith, gave the defamation case front-page treatment around the country.

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The Guardian devoted a whole podcast series to the trial and the Australian Broadcasting Corporation, which has done its own investigative reporting on the SAS in Afghanistan, gave it prominent placement online, on TV and on radio. Nine News and The Australian Financial Review, which are now owned by the same company that had also invested millions in fighting Roberts-Smith’s defamation action, did the same. The Sydney Morning Herald and The Age, which published the original reporting on Roberts-Smith along with their then-stablemate The Canberra Times, went big on the decision.