Every Shakespearean play has and follows a five-act structure. The first act is the exposition, in which the characters and their circumstances are laid to bear. The second act introduces the play's rising action, in which the conflicts between the characters begin to unfold across the plot's narrative structure. The third act is the climax, where at some point the conflicts laid to bear come to a head, the crisis unfolds, the great battle is fought, or the lead character makes a decision that will forever bear on his fate. The fourth act is the penultimate falling action, where the third act's events' effects take form and visit themselves upon the protagonist. The fifth act is the resolution, in which all that was or will be is seen before the audience's eyes and the protagonist is laid to rest in the bed of his making, or sails to victory.
To conceptualize political discourse in our time as drama is fitting. But, unlike a Twelfth Night, Julius Caesar, Othello, Hamlet, or Macbeth, the drama before us is not singular -- even if loosely linear. If the "drama" in general were to be plotted, it might look like overlapping connected lines on a scatter plot; with figures from one story line appearing in the next, and the next, and the next. The tale would still be filled with sound and fury, told by an idiot, signifying nothing; though it would lack the cogency and beauty that may have been had on the stage. Even still, in some form, the plot structure remains.
Here, I am referring to the plot structure of "woke" politics -- a sphere of political discourse which is most appropriately analogized to drama since, after all, most of it is fictional, all of it is narrative based, none of it is particularly referential to the facts of any individual case with fidelity, and it is unambiguously archetypal in nature. At the risk of proceeding without adequate foundation for any one of those claims, let's move right to the point: woke politics is more drama than it is truth, and like drama, it is bound to a structure, and the structure to which it is bound entered its third act with Jusse Sommelett.