Good article. Thank you.

Sometimes (and I've found this in my own novels) it can be wise to deliberately expose a plot hole to the reader, then deny it's a plot hole. In his excellent screenwriting book Story (which contains principles that apply to all forms of storytelling), Robert McKee talks about the final scene in The Terminator being an example of this; a film built not so much over a plot hole, but a plot abyss. But when Sarah Connor discusses the mind-boggling time travel implications, and says a person could go crazy thinking about this stuff, the audience agrees it isn't important, and throws logic out of the window.