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 man visits the panels of a comic page-like world in search for his loved Gloria.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
Ultimately the problem with The Bubble is that it plays everything for laughs to get around the audience’s defenses. But it comes off like a privileged white male thinking that ridiculing everyone else equally is the road to equality. And it’s not. And it's definitely not funny to pretend that it is.
Omaha reminds us of what it can feel like to look at old family photographs. You sit with the bittersweetness, allowing it to wash over you; not drowning in it, but certainly affected by it.
(Disclaimer: Harmful Language) In celebration of Pride Month, Father's Day, and father figures (and whoever supports you), I revisit Moonlight's brief but spectacular character, Juan. With overarching themes tied to masculinity, I reexamine his intimacy with Little.