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.

Eric returns home for a short visit and finds himself caught between reuniting with his sisters and chasing a victory with his old poker group. As the trip extends, Eric finds it increasingly difficult to avoid confrontations and revelations as his carefully constructed façade of his adulthood gives way to old childhood conflicts.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
Ultimately, Wicked is a story about the cost of being othered, the pain of being misnamed, and the quiet revolution of standing in your truth.
A consumed-by-rage woman travels from universe to universe to avenge the death of her daughter by brutally killing her murderer over and over again. And that's all that she does.
Lee Daniels’s Billie Holiday biopic The United States vs. Billie Holiday was released on February 26th, 2021, and my immediate reaction to it was one of discomfort.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
"Ladies First" has a fundamental misunderstanding of what's feminine because of the patriarchy and what women do because they genuinely enjoy it.