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.

A family implodes after the reading of a will. They fight over the inheritance, forming and re-forming alliances, and spend most of the film searching for a crucial key.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
The Force Awakens is A New Hope 2.0, in essence. The story structure is virtually unchanged, marking a safe opening to the new trilogy.
On the Road captures the bleak, hyper-masculine world of long-haul trucking in Northern Mexico, where anything can and will happen. A hard-boiled, neon-noir romantic thriller, it shows the gritty reality of roadside diners, truck stops, and truck cemeteries alongside the expansive, breathless beauty of the Mexican desert highways.
Produced by Vanguard Animation and released on Netflix, this animated fairytale movie has a lot of ironies as the story is told by the prince himself.
As Andrew’s life begins to change, his passion for drumming soon becomes a spiraling obsession in the pursuit of perfection. Through the use of disturbing and abusive training methods, Fletcher puts Andrew through emotional and physical agony.