Sometimes, earlier plot elements must be quickly rushed aside in order to make room for newer ones, necessitating fast resolutions. What this usually entails is that the main thrust of the plot thus far must be resolved within a few scenes so we can hurry up and get to the new main event.
This trope can be frustrating if, until this resolution, the first plot had been portrayed as being a very difficult situation to deal with, only to be quickly solved now that the plot demands it. There are several ways around this — the main one is to turn the old problem into a sort of Worf Effect for the narrative as a whole. It establishes that, as bad as the old situation was, the new one is substantially worse, and requires our full attention without distractions. If the original part of the plot's conflict was largely diplomatic, for example, it's quite understandable that everyone is willing to put it aside to deal with the newer threat.
Note that this trope, nearly by definition, involves spoilers since the new plot can only really show up in the middle of the story.
- This is how the Android Saga starts in Dragon Ball Z. Frieza and King Cold have just gotten to Earth, ready to take revenge. Everyone is seriously alarmed by this and the stage is set for another multi-episode battle against the evil bastard and his father to buy time for Goku to arrive and clean house. But then a Super Saiyan from the future shows up and takes them both down single-handedly. The warrior in question, Trunks, explains that in the future he's from, there are enemies way stronger than him and the Z Warriors need to start preparing for it now if they want to stand a chance.
- Happens near the end of Death Note, when Mello is casually defeated by Light to hasten the way to the story's grand conclusion, though Mello had been, up until that point, a very serious problem that Light had been unable to solve. Subverted when we find out that this is only how it seemed to Light. He made the fatal error of not bothering to guess what Mello was trying to achieve by kidnapping Takada. Mello had figured out from what Halle told him that Near was going to switch the Death Note with a fake. Mello anticipiated that Light would figure this out too, so he kidnapped Takada to make her a liability that would have to be killed by taking out the real notebook. By having the real notebook taken out, he gave the SPK the chance to switch it with a fake and was responsible for the defeat of Kira.
- Happened with Archie Comics' Sonic the Hedgehog in 2006, when the headwriters Ken Penders and Karl Bollers left due to Creative Differences, and Ian Flynn stepped up as the new headwriter. Flynn would spend most of his first year tying up most of the lingering plots left behind by Penders and Bollers (Tails being The Chosen One; the identity of "Anonymous"), writing some out contentious characters and plot elements (the Mystics Walkers, the Source of All, Tommy Turtle), and retooling many of the comic's elements to bring it more in line with the more in line with the game series' mythos (reducing the comic's hundreds of Chaos Emeralds into the seven found in the games; turning "The Zone of Silence" into "The Special Zone").
- Happened with Swamp Thing after Alan Moore took over as writer. Liz and Dennis, who'd been the major supporting characters in Pasko's run from the beginning, are abruptly Put on a Bus after their escape from death, and so is the ongoing plotline about their relationship, or lack thereof. All this is so the series can focus primarily on the upcoming deconstruction and reconstruction of the Swamp Thing, and secondarily on the Cables' deteriorating marriage.
- The first book of War of the Spider Queen deals mostly with a slave uprising, but it quickly turns to finding out what is happening with Lolth.
- In the first episode of Firefly, most of the conflict of the middle part of the story is about the lawman who the crew has captured, and what they're going to do with him. While some of the crew is off the ship, the lawman escapes and takes River hostage. When Mal comes back, he takes one look at the situation and shoots the lawman in the head. It's not that the consequences for just shooting the lawman have gotten any less severe; just that Reavers are about to attack the ship and "not being killed by Reavers" is a far more pressing immediate problem than anything the Alliance might do to them for knocking off the lawman.
- This happened in the Stargate Universe episode "Sabotage". The major plot point of the past two episodes had been several main characters who had been stranded. In the first 10 minutes of "Sabotage", they easily return to the ship, and it's not mentioned again, so that they can deal with the new plot, the sabotage.
- Happened several times in Andromeda, often due to casting changes. At the end of the first season the Magog world-ship was set up as the major driving threat, but while not completely abandoned this was pushed into the background. Likewise, Tyr's storyline that his son was the reborn leader of the Nietzscheans was also put aside after the actor left the series. Finally, in season five all previous storylines were virtually abandoned until the final episodes.
- In the first season of Fringe the character of Sanford Harris, an old enemy of Olivia, is set up as a major burr in the side of the division, only to have him killed off by a minor character towards the end of the season.
- At the end of season one of The IT Crowd, after a company party Moss sleeps with Jen, and Roy sleeps with the woman Moss was seeing. The writer solved this simply - it is never mentioned again.
- Season two of Seaquest DSV ended with the ship destroyed and the few survivors stranded on an alien world. At the start of season three, they wake up back on Earth with no idea how they got there.
- Seasons 1-4 of Earth: Final Conflict are all about discovering and foiling the Taelon plans on Earth. The fourth season is all about trying to save the last Taelons from their Core Energy shortage. Then comes season 5 that completely brushes off all the previous seasons, removes the protagonist of seasons 2-4, and replaces the Taelons with a new threat - the Atavus. The attempt to save the last Taelons and Jaridians ended up killing both. Needless to say, the Darker and Edgier season didn't meet with many of the fans' approval.
- In the midseason climax of Agents of S.H.I.E.L.D.'s second season, Coulson manages to kill one of HYDRA's leaders, Daniel Whitehall. The next episode after that has him capitalizing on the resulting instability within HYDRA's leadership to wipe out an entire regional council, taking HYDRA off the board for a little while and allowing the plot to establish Inhuman and rival S.H.I.E.L.D. factions instead... before all four factions crash into each other in a Gambit Pileup.
- Mighty Morphin' Power Rangers. The second season begins with the villains plotting as usual, until an earthquake rocks the palace, the footage switches to US-original footage and former Big Bad Rita gets Put on a Bus to Hell. It all changes with one Wham Line from Goldar.
- One episode of The Simpsons has Homer trying to deal with a badger invading the back yard, but he discovers he can't contact animal control because the town's area codes have been bisected. In this case the original plot was simply ignored — Homer casually dismissed the badger when it reappears, stating that they now have bigger problems.
- A Planet for the President by Alistair Beaton has the A-plot, a B-plot of a character trying to uncover the conspiracy involved in the A-plot, and a comically odd C-plot (and a few other things). There's a very clear moment where the deadline for the A-plot looms, and so all the others are quickly cleared up to make way for the denouement.