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 1861, miner Galen Clark learns he has consumption and decides to travel west in his final months. During the journey, he meets naturalist John Muir, who encourages him to live. Along with Native American Teneiya, Galen builds a cabin and settles with his daughter Kathleen. When loggers threaten to destroy their community and the forest, Galen joins forces with Muir and Teneiya to advocate for the area's preservation as Yosemite Park.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.
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 Wiz' has the propensity for paying homage to black culture with R&B music, graffiti and jazzy elements that make it incredibly entertaining.
Korean pop culture has mastered emotions as both a scientific field and an artistic revolution. Think of how K-Pop and K-Dramas have taken over the world. How? Simply put — they are addictive. How are they addictive?
Thunder Force brings much-needed diversity to the superhero genre. Unfortunately, it's also an uninteresting and unfunny mess.