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.

Olafur Eliasson has been pushing the limits of the sublime and the spectacular in his art for almost 30 years. From his monumental installation, The Weather Project, in Tate Modern's Turbine Hall in 2003 to his recent interventions in climate change and global migration, his is an art which strives to change the world every step of the way. In 2019, the Danish-Icelandic artist returns to Tate Modern with his landmark exhibition, In Real Life, surveying the breadth of his career from his beginnings as an art student in Copenhagen through to the latest pieces created in his vast studio laboratory in Berlin. Much of his work is shaped by his response to his parents' home country of Iceland and the interplay of water and light showcased in its natural phenomena.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
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James Cameron’s The Terminator (1984) marks the beginning of a wonderful two-part arc, brimming with style and substance. The film follows Sarah Connor, a waitress living in Los Angeles. One night, a cybernetic organism (Arnold Schwarzenegger) is sent back in time to kill Sarah. A human resistance fighter (Michael Biehn) is also sent back in time, with the intent of saving Sarah from this deadly foe.
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The 2019 film, Vai, takes us through eight stories across the islands of Oceania. The settings are unbelievably beautiful, the cast is beautiful, the languages are beautiful, and the stories are beautiful…but heartbreaking.
A wondrously imaginative, diverse, and spirited allegory of childhood and the arduousness of adulthood.