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.

Charles is dead... but what's going to happen to his widow? Poor Jane?
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
It's chock full of dream-come-true moments for Spidey fans, but its lack of substance reeks of a self-indulgence that is rare even in fan fiction
Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes
Star Wars is better if you believe that Luke Skywalker is gay. You can't change my mind.
Twisting what seems to be obvious setups and frameworks is what sets the story structure of Squid Game apart. I appreciate that this narrative is complex but not complicated; an easy enough plot to wrap your head around while still treating the audience like an equal participant in this social commentary