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.

2D, Murdoc Niccals, Noodle, and Russel Hobbs—these are the Gorillaz, a British band project that has shaped a completely new kind of crossover without musical boundaries like no other. The NOWNOW tour takes them to the biggest festivals in the world—they can't miss the Sziget Festival in Budapest.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
I first saw Dear Evan Hansen on the Broadway stage. Apparently, I was so blown away by the magic of theater that I didn’t pick up on the questionable dynamics. The story's clumsy handling in the movie brought those issues to light.
From its visually stunning opening credits, which show women dancing through a forest to musical rhythms that sound almost primal, to its quiet, heartbreaking final frame, Mona Fastvold’s historical rendering of the Shaker religious movement is an experience that will stay with me for a long time.
How closely should film adaptations follow their source material? Let's take a deep dive into "Norma Rae", and find out.
As noted in the headline, I didn’t like this movie. Not to say it’s the worst thing ever, but it’s just…meh. Nothing much to it. Very generic. No surprises. At the very least, the cast is diverse so I’ll give it that.
The latest MonsterVerse film delivers everything it promised.