Yes. I agree. It’s a completely different gear. I wrote a script about a guy who doesn’t think he’s a player but finds out differently when he gets the power of X-ray vision for women. (Think ‘What Women Want’ but visual). The big “ah ha” moment came with the mid-point crisis. At the urging of a friend, he finally goes to the woman he’s been ghosting for months to apologize. He sees their unborn child and there’s this great bit of dramatic irony when he asks her why she’d been trying to get a hold of him all those months and she says coldly that it’s nothing he’d be interested in. It’s the M.C.’s mid-point crisis and until that moment arrived nothing in the story seemed to work. It was good, had the structure, had the pithy lines, but nothing that got it to the next level. Maybe every writer LIVES for those moments they can knock it over the fence.