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.

Foreign correspondent Morgan Pålsson and his photographer Robert Flycht are sent on assignment to an unknown North African country – Matóbo. The assignment is to cover the country's elections, but instead a military coup breaks out and Morgan turns out to be the only foreign journalist on the scene. This is his chance to show what he's made of.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
After two months of refusing to see this movie, I have decided that it’s finally Morbin’ time. After its re-release as a box office bomb; I watched it just to laugh at it. But, I was also surprised, because 'Morbius' is a queer allegory.
The one-way journey went to the desert that refused to offer an answer or a transcendence.
The more biting satire is reserved for those on top of the power structure, such as the police, while those occupying lower levels are given more nuance and likability, even if they operate on the wrong side of the law. This principle gives Deep Cover its heart.
Shudder makes an incredibly atmospheric docuseries about the darker side of Hollywood mysteries.
A K-9 police dog goes undercover to stop an illegal animal smuggling ring and learns a valuable lesson along the way.