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 Marseille, the young Serbian-Albanian Adria Shala is an illegal immigrant traumatized by her past. Every now and then Adria recalls her life in Kosovo, when she was saved from rape by a deserter called Srdjan Vasiljevic in 1999. They move to Belgrade where Srdjan becomes a gangster, dealing weapons and becoming an assassin. Adria learns how to shoot and helps Srdjan with his work at first, becoming his mistress later.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
A film loosely based on the fairy tale Hansel and Gretel, with major twists to the original story.
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
'The Patient' is bound by four walls and a mediocre ending that leaves you wanting more.
Released on Disney+ during the pandemic, this musical tells the story of founding father Alexander Hamilton and depicts the formation of the United States with a diverse cast.