Structurally this is the point that forces a protagonist to realize things can no longer stay the same:

The assimilation of knowledge is in the very cells of drama – a character’s flaw is merely knowledge not yet learned.

the potency of ‘cheap music’ – the ability of the unashamedly commercial and populist to sneak under your skin and move you.

Though the characters are bound together by world and time scheme, each has their own story, each has their own inciting incident, turning points, crisis, climax and resolution. Each character will play out their own first act before the film moves on to the collective act two – and so on to the end of the work.

Series characters can’t get to the end of their journey or the story is over, so their creators face the same dilemma as Hollywood but massively amplified. How do they create change in a world where their characters must always stay the same?

good dialogue is forged in the furnace of opposition.

The tripartite shape placed at the beginning of a story will resolve itself into an inciting incident; in the middle it will form the foundations of a midpoint; and at the end, a climax.

If an audience is presented with disparate images they will assemble them into a meaningful order.

it’s the point of maximum jeopardy in any script,