phil gunderson teaches how to make stew. act one. [sighs] cool. act two. wait. come on. n: what are you doing, phil? phil: oh, cooking dinner, honey. woman: i already made you dinner. it's in the oven. phil: oh. woman: um, phil? [phil moaning] woman: phil! you missed a step. phil: right. right. i can't do seconds. woman: seconds? did...did you already finish? phil: no. second acts. i can't do second acts. i don't know what it isn't connecting. woman: oh. [phil sobbing] woman: sweetie, it's all gonna be ok. phil: so what we're doing in act two is increasing opposition, which intensifies the conflict by making it harder for the protagonist to achieve his goal. another important aspect to remember, you want to supplement your protagonist with moments of failure in act two. uh, where was i? um. the midpoint. director: cut. phil: what? it was going great. [all groan] phil: oh, well, what do you want me to do? all right, let's just--let's just move on. i think--i think i'm just getting stuck in this whole act two stuff. so, after all the struggle of act two, act 3 is where the