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.

Earth is just a place. But it's not even a normal place, as most of the cosmos is empty. Normal is the vast and immense void, cold and universal, the eternal night of space in comparison with which the stars, its planets, already appear as something painfully rare and precious. If we were dropped at random into the cosmos, the probability that we would appear on the planet or even in its vicinity would be less than a part of a billion, a billion, a billion.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
Stylish, slow, and somewhat standoffish, Human Resource examines corporate life from the perspective of a female HR employee as she interviews job candidates while also deciding whether to keep her newly discovered pregnancy.
Ripley is a great character because she serves two distinct, but rewarding, purposes in the original film and the sequel.
Severance is about breaking down facades and confronting old models that were once frameworks of our lives. The somewhat subtle message to me is it’s never too late to fall in love, no matter your insecurities.
Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes
I was able to sit down and talk with up and coming producer and director Ryan Polomski who talked about his latest project Raymond Lewis: LA Legend. It's a documentary about basketball star Raymond Lewis and here is what I found out.