Baywatch (2017) — The Apology at Midpoint: Nah, It Doesn’t Work

We’ve already discussed how the story structure in Baywatch (2017) feels all over the place. One clear sign of this is Brody’s surprisingly sincere apology before even the midpoint—when, in most stories, genuine apologies are reserved for the closing moments, marking the resolution of character arcs. This early apology prematurely defuses conflict and disrupts the tension that should be building. Midpoints are typically designed to complicate the story, not to smooth things over. Therefore Brody’s apology feels out of place, weakening his arc and leaving the audience less invested in his further development.

So, how should the writers have handled this moment, especially when the characters clearly find themselves in shambles—when an apology feels necessary?

Anything but apology

Anything but an apology. At this point in the story, the protagonist should be doing everything but saying sorry. He’d be desperate—pleading, begging, or trying to manipulate the situation to his advantage. Maybe he tries to charm his way out of trouble, uses bluff or bravado to mask his insecurities, or even blames others to deflect responsibility. Perhaps he leans on alliances or calls in favors, desperately trying to tip the scales back in his favor. This raw, unrepentant struggle not only heightens the tension but also deepens the character’s complexity, making his eventual growth more earned and impactful.

The protagonist is too weak

The key reason for storytellers to keep in mind is that, at this point, the protagonist is simply too weak to apologize. An apology literally requires the courage to kill the ego—in a moment of true vulnerability and strength—that the character hasn’t acquired yet.

The insincere apology

At most, the protagonist might force themselves to apologize at the midpoint, but like anything forced, it comes off as obviously insincere—and should be perceived that way by the other characters as well. This way, the tensions are also kept high and the eventual reckoning inevitable.

Delaying the real apology until the final act gives it weight. By then, the character has faced consequences and wrestled with their flaws, so the moment feels earned.

Know “the rule” to break it

Of course, there are exceptions. If a story truly needs a character to repent early, it can work—but only if the writer understands what’s being sacrificed. Breaking the rule only works when you know the rule. That kind of choice should be intentional, not accidental. Otherwise, you end up like Baywatch (2017)—writing yourself into a corner and leaving the rest of the story with nowhere to go.

Ira