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 driver is confronted by years of pent up trauma and unresolved emotional damage when he meets the love of his life and her abusive boyfriend. It's one hell of a ride.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
One young woman with an unusual background tries to find and establish herself in the real world, which isn't exactly as festive as she hoped it would be.
Adam McKay might have been more concerned with cramming cameos than he was in this story which is a bloated criticism of the rich and famous… delivered unto us by the rich and famous.
The Flounders are back in this sequel that takes place one year after the events of 'Malibu Rescue'.
Mirrorball is full of passion and love for the medium of cinema and is indeed a fitting love letter to La La Land.
J Brooke, Incluvie Guest Columnist on 'Life and Beth' and 'Sort of': while living one’s truth is freedom, speaking it as a mandatory assignment can become captivity.