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.

Five years after the unusual deaths of a group of teenagers, paranormal investigator Max Archer interviews survivor Matt Swanson who is serving life in prison for the murder of his classmates - but Matt claims he is innocent and that the inhuman force that killed his friends is still after him. Matt recalls how he and his best friend Liam were ensnared into a deadly game of tag with their friends and why the game still isn't over.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
The singer recounts the memories of writing and creating her record-breaking debut album and shares her feelings as a young woman navigating a specific time in her life.
In Stowaway, director Joe Penna narrates the story of a starship crew (Anna Kendrick as Zoe Levenson; Toni Collette as Marina Barnett; and Daniel Dae Kim as David Kim) struggling with serious technical problems on a two-year mission to Mars. During the trip, they discover aboard the presence of Michael (Shamier Anderson), a stowaway who jeopardizes everyone’s life on board.
The film is a simple love story reminiscent of stories like The Notebook released in 2004. Sylvie and Robert are rarely actually together in the film, however; time and circumstance keep them away from each other, and the audience waits with bated breath to see them find one another over and over.
Naked Gun: The New Police Squad Team delivers exactly what fans want: relentless, expertly crafted chaos that honors the original while cranking everything up to eleven. The gags fire at machine-gun pace—sight jokes layered with wordplay and physical comedy so outrageous it borders on art. It's gleefully self-aware without being cynical, silly without being stupid, and maintains that perfect ZAZ-style balance of treating absolute absurdity with complete seriousness. The film knows exactly what it is: a comedy missile designed for maximum laughs, and it hits its target with surgical precision. Pure, unhinged entertainment that proves spoof comedy still has plenty of life left in it.
America is the crux of the storyline: she is the only person in existence with the power to jump between universes. As central as America is to the Multiverse of Madness story, she somehow didn’t get that much to do.