Writing Great Villains: Why They Shouldn't Be Sympathetic
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.

In a world where suicide requires a permit, a man seeking to end his life meets "Soulbound." To regain his permit, he must spend a day with this enigmatic figure, whose presence stirs forgotten memories, pulling him back toward the fragile echoes of a life he thought he was ready to abandon.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
It took writers D.B Weiss and David Benioff two years to give us a promising final season. Two. Years. It was just going to be six episodes, which was short considering that all the other seasons — except season 7 — were 10 episodes. 10. 6 wasn’t enough, and even HBO wanted to give the writers more episodes. More seasons, even. However, the writers wanted to get out of the show as quickly as possible to work on other projects. This abruptness is clearly shown in this season.
'The Menu' has a strong story. The 5 acts, which are defined by the courses, are an excellent subversion of the classic 5-act film structure.
The human experience is described through the eyes of a marginalized outsider, neither judgmental nor invested, just an observant donkey.
Like all modern societal phenomenons, it started with a meme. This one highlighted that when there’s a mom in a Pixar film, she is almost without fail given striking curves that highlight the bottom half of her body following a minuscule waist. From Elastigirl to the skeletal Mama Imelda, the animation giant’s artists seem to have a fixation on making exaggeratedly curvy maternal characters.
The Vietnamese perspective is not only completely ignored in 'The Greatest Beer Run Ever', but it is blatantly whitewashed and disrespected.