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.

Bassley, a Nigerian footballer living in Vietnam, has been unable to make a living since he broke his leg. He and four middle-aged women he sometimes works for decide to escape the disappointment of their daily lives. They go to an old house where together they create a special world for themselves. But this intimate utopia cannot last forever.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
Curry Barker’s film, Obsession, soars in success this past May leaving everyone who has watched it in extreme chills and disturbance. And taking it to new levels of why men are always the root of horror films even when they try not to be.
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Mai yells what every parent dreads hearing from their child: “tao ghét mày” (“I hate you”) and runs from the scene, where Hai discovers that Mai was telling the truth about the wallet.
An analysis on how the Garfield movie fails to represent the characters it is adapting, especially the women, by removing their best characteristics.
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.