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.

A romantic comedy following a kind young girl and the story that ignites because of a diamond ring. Wang Xiao He was orphaned since a very young age, and she has found a job in the city in order to earn money for college. She also harbors a crush on Zheng Tian Le. One day, she witnesses Tian Le being knocked unconscious by delinquents. She takes him to the hospital and gets mistaken for his fiancee because of a ring. She decides to go along with the story in order to stay by Tian Le's side, inviting the suspicions of Tian Le's brother Tian Chou.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.
It is not hard to make a musical biopic that pleases audiences and draws a profit. Michael is no exception.
The film blends reality and the supernatural world together, leaving the viewer unsure of what’s real and what’s merely a figment of Michael’s agitated imagination.
Hustlers was meant to be a film about female empowerment. And it was, to a certain extent. I expected and wanted this to be a kickass and complex film of sexy women who use their confidence, skills, and wits towards a brilliant plan to get revenge on the Wall Street guys who wronged them.
Americans love the British monarchy. This may seem confusing because only a few short hundred years ago they were our worst enemies, and every year we celebrate our independence from them. The Crown humanizes the monarchy, which might explain its popularity.