The Kingdom of Saudi Arabia booked themselves into a corner with the murder of Jamal Khashoggi that allegedly took place in the Turkey consulate.
Khashoggi was outspoken against the regime, its harrowing human rights record, and the attempts to sports-wash it all away. This posed a problem; he was right, he had intimate knowledge of the backstage goings on, and his dirtsheet was influential. The Kingdom booked the angle without considering the long-term payoff. It was difficult for fans to suspend their disbelief - the "He just disappeared" plot hole was too gaping - and they found themselves in a worse position. The segment compromised the intended babyface turn and exacerbated their heel persona.
Oh, wait, sorry, that's not WWE. That is the brutal dictatorship WWE carries out propaganda for.
WWE, historically, has created similar problems for itself by first devising a masterstroke of conflict. The best pro wrestling programmes, and indeed all dramatic works, blindside you with a mystifying conundrum, in which the stakes are so vital to the characters that the repercussions are unthinkable. The Breaking Bad writer's room was phenomenal at this. Walter White was done for every week, from all directions, until he wasn't.