Tuesday, February 24, 2026

Now Showing: Running from the Spotlight

 
Running from the Spotlight
Genre: Drama/Teen
Director: Michael Fimognari
Writer: Jacob Jones
Cast: Kylie Cantrall, Malia Baker, Sadie Munroe, Michela Luci, Isaac Arellanes, Peter Krause, Priah Ferguson, Orli Gottesman

Plot: Inside Albany Prestige High School, as classes are making their way out for the night, an aging acting teacher (Peter Krause) is doing a quick headcount, wondering where his prized pupil is.

The door swings open, revealing the ever-stylish and perky Maria (Kylie Cantrall), excited to be starting another day with the acting troupe, all of whom greet her with much pomp and circumstance, particularly her girlfriend Emily (Sadie Munroe), who gives her a kiss on the nose.

The next hour or so sees Maria helping other students out with warmups, line memorization and vocal training, helping ease the strain for Mr. Herrick. At the end of class, he announces that tomorrow, they will be holding auditions for their Spring play, Peter Pan, inviting anyone who is interested to participate. As Maria and Emily make their way out of the room, they express excitement over the musical.

“Hey, you’re not the only ones that are excited.”

Maria looks around, finding Thalia (Malia Baker), one of her theater friends. Thalia is looking for to the musical as this will be the last for many seniors, including Maria. The three reminisce on past high school memories before Thalia asks Maria and Emily if they want to hang out after auditions. Maria would love to, even offering to give everyone tips if they get cast.

The three friends head their separate ways, Maria making her way home and entering her room to practice singing. She glances at her phone, revealing the story of her high school acting career. Most notably, Maria has been the lead in every play Albany Prestige High has held. Maria resumes practicing, hitting a particularly high note with ease.

The next day, Maria and Thalia meet up at a local park, finding Emily with Solomon (Isaac Arellanes) and Jessica (Michela Luci). All seems normal, even as there are slight tensions between Maria and Jessica. Their time together is disrupted when Maria realizes that auditions for Peter Pan are coming up soon, dragging Thalia and Emily with her.

At school, Mr. Herrick sits at his desk, staring at the alarm clock when Maria arrives with Thalia and Emily, all set for the audition. As the three reveal what parts they wish to go after, Thalia let’s slip that she wants the role of Peter Pan (though any role is fine). Maria freezes up, showing discomfort as Thalia belts out “You Can Fly”, only for Maria to do the same thing. Mr. Herrick dismisses the three, letting them know that he’ll make his decision tomorrow.

As Thalia and Maria part ways, Emily catches up with her girlfriend, asking if she heard how Thalia sounded. Maria is impressed, but is still confident that the role of Peter Pan is her’s. Emily pauses, unsure how to word it before claiming that Mr. Herrick might be looking for someone “new” in the Peter Pan role, suggesting that Thalia might be the one.

Maria dismisses the rumors, claiming that she is the star of the club. Mr. Herrick knows this, and tomorrow, when that cast list comes out, everyone will see her name on top. Maria sashays off, leaving Emily concerned.

The next day, Maria enters the school, finding a group of student whispering to one another. Maria cuts through, wanting to see what the fuss is, finding the cast list for Peter Pan.

Peter Pan- Thalia
Wendy- Emily
Captain Hook- Maria
Mr. Snee- Solomon
Tinker Bell- Alice

Maria looks on, stunned that her perfect record has been broken before seeing Thalia get mobbed by others students. All throughout the day, Maria has trouble focusing on anything, still stuck on Thalia’s big break, culminating in a surprisingly muted day for Maria in drama club.

As drama club lets out, Maria stays inside, asking Mr. Herrick why she didn’t get the lead of Peter Pan. Herrick explains that while Maria has been a phenomenal actress, with this being her final play, he figured the time had come to pass the torch to someone new, that being Thalia. Maria understands, promising to do the job well.

That evening, Maria lies in bed, having her first nightmare, the intrusive thoughts in her mind conjuring a false picture that shows Thalia taking the role Maria once filled, leaving her irrelevant. Maria wakes up from her dream, writing out a panicked text to Emily, begging not to forget her, even after all she’s done.

Thalia and Solomon walk together to class when they find Emily running through the hallways, trying to find Maria. When they come across Maria, Emily gives her a hug, rambling about how worried she was. Maria assures them that she’s fine and just needed to vent.

Maria then sees Thalia and lavishes her with compliments until the bell rings. Thalia and Emily head off, both confused yet relieved. Throughout the next few days, however, Maria proceeds to be exceedingly nice to Thalia, giving her gifts and adulation all while Jessica looks on, suspicious.

One night, however, Maria receives another nightmare, this time about a great scandal emerging and her name being disgraced. She is shunned and lambasted by everyone she comes across, including Mr. Herrick.

After waking from her nightmare, a frantic Maria grabs onto her phone and calls Thalia. In her room, Irritated, Thalia asks Maria what she wants at 3 in the morning, becoming confused when Maria asks what she thinks of her.

Maria goes on, spilling her insecurities to Thalia all while beating herself up for mistakes she made. Some days, she feels more like a liability, to herself and everyone. Maria asks why Thalia still puts up with her.

Unsure how to take it, Thalia tells Maria that in her core, she’s a good person who wants what’s best for everyone and that those mistakes, whatever they may be, are inconsequential to the good she’s brought to others. Concerned, Thalia asks Maria if she’s doing okay mentally, suggesting she talk to Jessica about—

Maria rejects the offer, before backtracking, claiming that they’ve talked before and it didn’t work out. Regardless, Thalia still suggests Maria see someone, worried about how low her self-esteem is.

Solomon and Emily sit together in the cafeteria when Thalia steps inside, yawning as she makes her introduction. She’s still a bit tired from the surprise call Maria gave her. Solomon isn’t surprised, but before he can comment further, the group hear shouting not far from their table.

Solomon looks over and finds Maria and Jessica arguing with one another, another student stepping in between them to avoid escalation. Maria storms off, dramatically flipping her hair back in a huff. Solomon and Emily go to check on Jessica, who is still shaken up, while Thalia watches on, confused.

That afternoon, Thalia receives a text from Maria who claims that Jessica accused her of things she didn’t do in her usual “patronizing” self, claiming that she leaves the drama behind. When Thalia tries to ask her what happened, however, Maria remains vague. A few hours later, Thalia receives another text from Jessica, asking if she can stop by her house tomorrow.

Emily calls Maria on the phone, enjoying their time together until she asks Maria what happened between her and Jessica. Maria repeats the story she told Thalia, painting herself as the good girl. Emily is confused, stating that Jessica wouldn’t go out of her way to accuse anyone without concrete evidence. Maria remains indignant, convinced that Jessica is trying to manipulate people to believe the wrong thing, especially when it comes to—

Maria stops herself from getting carried away, opting to get off for the night. Emily is confused and once again, concerned.

That evening, Maria tries to get some sleep, but is confronted with another nightmare, this time detailing more of her past with vivid imagery. This pictures Maria as a benevolent queen being torn asunder by her peers, all while a witch version of Jessica cackles, Thalia and Solomon by her side as Maria falls into a cesspool of deceit and lies.

Upon entering Jessica’s room, Thalia finds Jessica with Solomon debating the state of women’s right in the Middle East when Jessica welcomes Thalia in. During their conversation, Thalia admits that she’s still new to Albany, having just moved from Illinois a year ago so she’s not aware of all that’s gone on between Jessica and Maria.

Jessica reveals that a year ago, there was an incident between Maria and Lizzy (Priah Ferguson), a girl who used to be a part of the Albany High Theatre Club. A kindhearted girl with a love for theater, Lizzy represented Maria’s first true threat. Especially when Lizzy got the lead role of a play. At first, Maria tried coaxing Lizzy, befriending her and lavishing her with all these gifts. When that didn’t work, however, Maria got Emily to plant a horrifying secret about Lizzy.

Thalia is stunned, completely unaware of all that happened, Jessica tries to be sympathetic, only for her parents to call her downstairs. When Jessica leaves, Solomon steps up, saying that Jessica had a personal stake in the manner, being close friends with Emily and Lizzy. It’s a big reason why Jessica hates Maria. He finds the matter sad as the two used to be good friends. Despite this, he advises Thalia not to take Jessica’s word as gospel and encourages her to do her own research.

Emily rides her bike across town when she comes across Lizzy watering her garden. Upon seeing Emily, Lizzy asks Emily why she’s so happy to see her. Emily stammers, trying to explain herself but Lizzy says that it’s too late. They was supposed to be her friends and they ruined her. But it’s fine. Karma will come around someday.

Thalia paces back and forth in her room when she hears her phone going off with texts from Maria asking Thalia if she’s heard anything. Thalia admits to hearing conflicting thoughts on an incident involving her and another girl. Maria goes silent before returning to call.

Maria claims that she wanted to support Lizzy but then rumors got out that Lizzy only got the job from sleeping with Mr. Herrick. When Maria heard, she tried to defend Lizzy but she outright screamed at her and Emily. Then she told Jessica and well…

Thalia expresses her sympathy to Maria, Maria thanks Thalia for her support, vowing that she has her backing as lead. Thalia gets off the phone, having now heard two differing takes on the situation.

The next day after school, the Albany High theater club reads their scripts for the musical. All appears normal between the group, but when Mr. Herrick schedules a break period, Maria comes up to Thalia to offer critique on how she should deliver her lines. Thalia assures Maria that she’s got this. Despite this, Maria remains persistent, trying to give feedback whenever possible, even when it’s not necessary. This culminates in Alice (Orli Gottesman) telling Maria off, forcing Emily and Mr. Herrick to step in.

Maria comes up to Thalia, apologizing for her part, assuring her that she’s only trying to help. Thalia understands but vows that she knows what she’s doing. Any great actress knows what they’re doing and well, that’s how she got the role. Thalia walks away, unaware that she rubbed Maria off the wrong way.

Emily practices her lines for Wendy before hearing her phone ring. Upon picking up, Maria rants about how Thalia blew her off. Emily does admit that Maria was doing it at inappropriate times, but backtracks, saying she’s doing it for a just cause. Maria hints that maybe Thalia isn’t ready for the spotlight, cause Emily to fly into a panic.

Maria reassures Emily, stating that Thalia will be fine. It’s one bad night, everyone has those. She ends the call by reminding Emily that she’ll always have her best interests in her heart. Emily collapses onto bed, finding on Twitter that Lizzy is lamenting how broken she is and how nothing she does is good enough. Rhetoric similar to that of Maria. She texts Jessica, asking her if they can talk tomorrow.

Solomon smokes a weed blunt when he gets a phone call from Maria. The two chat for a bit before Maria brings up what happened in acting club. Solomon thinks about how to respond and asks if she feels she did the right thing. Maria avoids the question at first, only to confess that she’s not sure, starting to wonder if the world is crashing down around her.

Solomon suggests that Maria is fine, but implies that maybe her gifts and affirmation are a front for something more sinister. Maria goes on the defensive, claiming no such thing will occur, only for Solomon to let out a cackle, telling Maria to lighten up. He knows the whole thing was a misunderstanding. Maria is relieved.

The next day, Emily paces around the room, when Jessica opens the door. The two sit in the bed, Emily freaking out about the conversation she had with Maria. She’s afraid that Maria may be about to do something bad to Thalia. Throughout this conversation, it’s revealed that Emily and Thalia have been friends since middle school, both coming from Illinois and that she was responsible for Thalia and Maria becoming friends. Jessica, having had to deal with this song and dance for months now, bluntly asks Emily when she’s going to stand up for her friends and herself.

During school, Thalia wanders throughout the hallways when she comes across a figure, softly crying to herself. She hesitantly approaches them, introducing herself, only to be shocked when she finds Lizzy. She asks Thalia if she’s out to ‘get her’. Thalia is confused but assures that she’s fine. Is Lizzy fine, however?

To Thalia’s surprise, Lizzy lets out a massive rant, claiming that she’s constantly paranoid and thinks everyone hates her guts, blaming it all on Maria. Taken aback, Thalia asks what’s going on.

Lizzy apologizes before revealing what she thinks is the truth: Last semester, Lizzy moved to Albany after her parents found new jobs in New York. A life-long fan of the arts, Lizzy gravitated towards acting and performance, working her way towards the Albany High theater troupe and finding rapport with Mr. Herrick, to a point where she was going to be the lead of their spring play.

Maria resented this, often lavishing gifts and compliments before switching her strategy to obnoxiously constructive feedback. When all else failed, Maria got her sycophant Emily to spread the rumor that she was sleeping with Mr. Herrick. She was labeled so many horrible things, and the scandal caused Herrick to take a leave of absence and destroyed her reputation so badly that she quit acting all together.

With tears in her eyes, Lizzy admits that she really wanted to be Maria’s friend, but she betrayed her trust…

“I DID NO SUCH THING!”

Maria storms up to Lizzy, accusing her of lying. Alarmed, Thalia tries to break up the conflict before Emily steps in. Maria tries to get Emily to tell Lizzy the truth, only for Emily to tell Maria (though not very convincingly) that she should let Lizzy be.

Maria lets it slide, only because Emily spoke up, leaving Thalia and Lizzy confused. Over the next few days, Emily continues to speak up against Maria's transgressions, slowly becoming more confident in her voice. Mr. Herrick takes note of this, giving her props after class. Maria comes up to Emily, asking if they were still up for their date this weekend. Emily thinks so, but she does have a few errands to take care of.

Suspicious, Maria sneaks over to Emily’s house, finding to her shock that Jessica and Emily are on speaking terms. Jessica claims to be an innocent party, but Maria believes she’s trying to turn Emily against her. The two argue for a bit before Jessica accuses Maria of not actually loving Emily, causing Maria to go in a passionate defense of their relationship.

Emily thinks for a moment and stands up, staring at Maria. She loves Maria, but the way she’s been acting has made her seriously uncomfortable. She’s manipulated, gaslit and gone after others for not getting what she wants, and now she’s doing the same thing to Thalia. A hint of remorse comes as Emily reminds Maria of all the good things she’s done, but declares that they’re going on break until the matter is resolved.

Maria appears to understand, only to break into hysterics upon returning home, destroying anything that reminds her of Emily until she comes across a heart shaped pillow Emily sewed for her. She falls on her knees and breaks into tears.

Thalia arrives at the acting troupe the next day, finding that Maria is nowhere to be seen. When she does arrive, it’s clear she’s an absolute mess. Several students express concern, but a few use the opportunity to poke. As the day goes on, it becomes clear that the tide has changed with students becoming more snippy towards Maria. It gets to a point where Thalia lambasts m the gang. She knows Maria has been through a lot as of late but that there’s no excuse to act like gossipy children.

After class, Alice pulls Thalia aside, asking if she talked to Lizzy. Thalia says she did, she heard a lot about the Maria situation. Alice then slips her an invite to a Discord server so they can further discuss.

Upon leaving class, Thalia comes across Maria who thanks her for coming to her defense. Thalia mentions that she didn’t do such a thing. If anything, she’s getting tired of being corrected and having to deal with this nonsense. Thalia steps out of the way, heading home and leaving Maria in shock.

That evening, Maria sits on her bed, writing in her diary, expressing relief that Thalia is still on her side, glad to have at least one friend…yet the urge to be the star of the club still burns inside her…maybe…no, she shouldn’t…

..:or should she?

Thalia enters the server, conducting an interview with the students, being bombarded with horror stories and defenses regarding Maria’s character. Thalia, no longer sure what to think, thanks everyone for the time and logs off. Little did they know, there was an anonymous account that snuck through the cracks, recording their every word…

That evening, Thalia has a dream about being a judge in court, listening to lawyer Alice testify against Maria. She appears unsure on the verdict until finally, she hears from Solomon, reminding her to believe what she thinks is best.

The next day, however, as Thalia makes her way down the hallways, she is greeted with people whispering about her and is called into the principal’s office. There, she finds the principal with Mr. Herrick, being interrogated about a cyberbullying server regarding Maria. Thalia refutes the claim, asking how they’d know. Mr. Herrick steps forward, saying that he received the information from an anonymous source before suspending Thalia from the theater club until further notice.

As if things couldn’t get worse, as Thalia steps out, she comes across the sight of Lizzy having a complete mental breakdown, accusing everyone of being against her as Jessica tries to calm her down before school officers step in. It’s at that point Thalia eyes Maria, her eyes frozen as she watches it all play out.

When Thalia asks Maria about it, she bolts, causing Thalia to lead a chase for the actress, Solomon, Emily and Jessica following suit. They run all over the school before finally Thalia corners Maria. With nowhere to run, Maria grovels in desperation, only for Thalia to remain calm, stating that she wants to know.

“Did you tell Emily to spread that rumor about Lizzy?”

Maria struggles for a moment before admitting to the crime, confessing to feeling sick about doing it herself, pressuring Emily to do so instead. Disappointed, Thalia tells Maria that she had no right to spread these rumors, and for what? Being the star of a dumb play? Maria muttered under her breath that she almost got away with her. When confronted, Maria reveals that she heard Thalia and the theater club talk behind her back and that she confirmed her suspicions. Thalia was out to get her, just like everyone else.

Thalia tries to explain herself, wanting to listen to every side in the matter, but Maria is heated, claiming that she trusted Thalia and she stuck a knife in her back. But then, maybe Thalia shouldn’t have been trusted. After all, Thalia was bragging about how she was nailing her role.

Thalia apologizes but tells Maria she was still in the wrong for what she did before asking a serious question: How many people has Maria done this to? With a group now surrounding them and seeing no escape, Maria confesses to having manipulated and sabotaged countless other actors not just in theater club but in community theater.

Furious, Thalia eviscerates Maria for her actions, ready to terminate her friendship when Maria screams that she’s a victim of this too. Surprisingly enough, Jessica steps up to the plate, asking Maria for more information.

In flashbacks, we learn that when Maria was starting out, she was placed in the lead actress role for a play. This didn’t sit well with one of the actors, and behind the scenes, they built a case against her, revealing their true colors when the time was right. After that day, Maria vowed never to let this happen again, embracing the tactics that got her in this situation in the first place.

Maria cracks, revealing every detail about herself. How she constantly has nightmares about herself and her friends and fears everyone is out to get her and yet still does these horrible things because she feels obligated to be the star. She didn’t realize how badly she had ruined Lizzy until today and now, she’s screwed Thalia. She breaks into tears, calling herself a monster.

“No you’re not.”

Thalia steps forward, coming up to the broken Maria, telling her that she helped her so much when she first joined the theater club, showing her how everything worked and the fun activities they did during break periods. Solomon comes forth, restating that Maria was always good to her. Emily comes next, calling Maria the sweetest person in the world when it comes to her.

Jessica is last, admitting that she’s been harsh on Maria, but for a good cause. Maria has been hurt by others and created a foundation of distrust which has hurt those she’s close to. But it’s clear there is a good person deep in her core. She just needs help. Maria asks for them to help her, everyone accepting this request with a hug.

Several weeks later:
Thalia stands on stage, dressed as Peter Pan, having the time of her life as she fights Captain Hook, played by Lizzy. In the end, Thalia comes away victorious and the play ends with a standing ovation from the crowd. As the crowd heads out, the group is surprised to find Maria with a big bouquet of flowers for everyone, congratulating them on the show. Solomon, Thalia and Emily step aside, letting Thalia, Lizzy and Maria speak.

Maria proceeds to apologize for everything that happened, saying that therapy has been helping, thanking Lizzy for jumping in at the last second. Lizzy admits that it’s been hard trying to forgive others but after seeing Maria try, she figured she’d do the same. She hated feeling so miserable.

Thalia watches on, smiling as the two embrace, briefly stating the moral of the story:

Everybody’s gotta change for themselves, even when they don’t realize it.


Monday, February 23, 2026

Writer Commentary: Tarzan

 

Tarzan
Genre: Action/Adventure
Director: James Wan
Writer: APJ
Based on the character created by Edgar Rice Burroughs
Cast: Jason Momoa, Hayley Atwell, Timothy Spall, Richard Armitage, Cosmo Jarvis, Adelaide Kane, Otis Dhanji, Ritchie Coster, Babs Olusanmokun, Peter Mensah, Lesley-Ann Brandt

Plot: The year is 1888. John Clayton (Cosmo Jarvis), an aristocrat and officer with the British Army, has been given a new mission to train soldiers in a remote British West Coast African Colony. He and his pregnant wife Alice (Adelaide Kane) set sail for the sun-drenched shores of Africa. Alice is nervous about giving birth to their child in a savage land, but John assures Alice that they are going to a region that has been colonized and has doctors and nurses to help deliver their first child. The Claytons' small ship slices through the choppy Atlantic waters. John stands on deck, his eyes scanning the horizon. John points out some storm clouds to Alice, telling her the waters may soon get rough. The storm hits the area sooner than expected. The waves crash over the ship. John clutches the wheel, desperately trying to navigate through the storm. The ship's wood begins splintering from the storm's onslaught. The ship splits in two. John rushes to Alice's side, both clinging onto a piece of ship to keep them afloat. [1]

[1] I remember a while back John Malone listed Superman and James Bond as his two dream characters to writer for. At that time I don't think either had happened. Around that time I started thinking about what characters would be my "pie in the sky" choices. One would be Batman, which I had already done, but it took some thinking on the second character. Then I looked at my book shelf a dozen or so Tarzan books just sitting there. It was then that I started thinking about Tarzan on the big LRF screen.

By morning, the storm has passed. John wakes up, washed ashore a pristine beach. He staggers to his feet, scanning the horizon. He frantically begins searching for Alice. After a desperate moment, the surf pushes Alice ashore near him. She gasps for breath. John carries her to dry land. John's survival instincts kick in. He salvages driftwood, rope and canvas from what he can find of the wreckage, using it to build a small shelter at the edge of the treeline. That night while Alice sleeps, John listens to the sounds of the wild around them. In the morning, John tells Alice that he is confident that with the wildlife nearby, there has to be a source of food and water that will be able to sustain them until they are either rescued or he is able to built a new ship. [2]

[2] One of my biggest challenges writing Tarzan was trying to figure out what angle to take. WB had done a Tarzan film in the last decade or so that seemed to suck all the fun and pulp out of the character, so it was then that I started thinking about how to make Tarzan fun and adventurous again.

John is able to fashion a makeshift ax from a shard of flint, which he uses to create a clearing around their shelter. The fallen trunks create much needed timber to secure their shelter and to eventually build a boat with. One day, John ventures deeper into the wilderness to hunt for food when he hears Alice cry out his name. John sprints back to the shelter, finding the pregnant Alice in the middle of labor. Alice screams out, gripping John's hand, as she gives birth to a baby boy. Alice insists they name the baby John, after his father who kept them alive in a dangerous jungle. John documents the birth in his journal where he has begun writing of their survival in the jungle and their life before it. Before long though, Alice becomes feverish as an infection has taken hold. John can do nothing but keep his wife comfortable and watch as the life fades from her face. John buries Alice near the shelter. The baby cries out. John climbs up a tree to fetch a coconut, feeding the baby the milk from it to quell his crying and provide much needed nutrients.

John works harder than ever on a new ship to take he and his infant son back to England. As he chops violently away at the wooden trunks, a group of gorillas watch from the jungle nearby. Kerchak, the biggest and most ferocious of the gorillas, and therefore the natural leader, lets out a primal roar as he lunges after John, who manages to strike the ape with his ax. This does little to slow down Kerchak though, who grabs John and crushes the life out of him. As John's lifeless body lay on the ground of the clearing, the infant begins to cry. Kala, a gentle mother ape, enters the shelter and finds the crying baby. She cradles the baby, who stops crying. Kala carries the infant away from the Claytons' shelter, bringing him back to the gorilla nest. [3]

[3] This first act - or prologue as I like to think of it - sticks pretty close to Edgar Rice Burroughs' original novel's opening. In the novel, Tarzan's parents are actually stranded when the crew of the ship they are traveling on is overtaken by the crew in an act of mutiny. Then because Clayton wasn't a jerk to them, they stranded him on the deserted shore rather than killing him and his wife. That seemed like it would take up too much screen time and delay the introduction of our titular character even further, so I went with a storm. The murder of John by Kerchak the ape is taken directly from the novel - and it was one of the first things I knew I had to include since he actually has never been on the big screen before in the correct capacity.

The year is 1906. Teenage Tarzan (Otis Dhanji) feels alienated from the tribe of gorillas due to his different appearance and lack of strength in comparison. Lonely and exploring the jungle, he stumbles upon the shelter his father had built now dilapidated and covered in vines. Tarzan pushes aside the vines and steps inside. He finds a photograph of John and Alice on their wedding day. Tarzan quickly notices that their faces look his own. Tarzan also finds his father's journal, and he begins flipping through the pages. Even though he cannot read the words, he senses that it is important. Kerchak has followed Tarzan and confronts him. Tarzan tries to run away but is quickly overpowered by the great ape. Scrambling for safety, Tarzan's hand finds his father's old ax. Kerchak leaps at Tarzan, accidentally impaling himself upon the ax. Tarzan staggers back, stunned that he not only survived an attack from Kerchak, but came out the victor. The other gorillas from his tribe emerge, Kala leading them. They grunt and cheer on Tarzan for ending Kerchak's reign. As Kala gives her son a hug, the other gorillas all bow down before their new alpha, Tarzan. [4]

[4] Something I found myself struggling with was the lack of action sequences before we see grown-up Tarzan, so a scene of teenage Tarzan avenging his father's death - without really knowing it - seemed like an exciting way to prepare audiences for the type of action the rest of the film would (hopefully) bring them.

The year is 1924. Jane Porter (Hayley Atwell) ventures through the jungle as the assistant to her father, the eminent Professor Archibald Porter (Timothy Spall), the famed British biologist who has come to the continent of Africa to study the connection between man and ape. Their guide through the jungles is the enigmatic Russian adventurer Nikolas Rokoff (Richard Armitage). After a long day of hiking through the jungle toward gorilla territory, Rokoff, his henchman Alexis Paulvitch (Ritchie Coster), and Professor Porter begin setting up camp. Bundles of dynamite slip out of Rokoff’s bags, but he is able to quickly hide them before Professor Porter can notice.

Meanwhile, Jane wanders off and finds a swimming hole. She sheds her clothes and dives into the water to cool off. Above, unseen by Jane, a grown up Tarzan (Jason Momoa) watches from above, following her every movement. [5] Jane swims, carefree, through the water until she spots a large snake in the water next to her. She quickly leaves the water, frightened. With her heart pounding, Jane begins putting her clothes back on when she finds herself cornered by a large African leopard. Just as the leopard is about to leap toward Jane, Tarzan swings down from a vine. He gives a loud battle call as he swings down and grapples with the big cat. Jane runs away, half-dressed, into the jungle. Tarzan and the leopard chase each other through the trees, leaping from one to another. Finally, Tarzan outflanks the leopard and tackles it, sending both crashing down into the water below. As the two struggle with each other in the water, the large snake joins the fray, baring its fangs at Tarzan and the leopard. Tarzan pushes the leopard toward the snake, who sinks its fangs into the leopard, pumping it full of deadly venom. Tarzan exits the water and sees the rest of Jane's clothing still sitting by the shore. Jane realizes that she is lost in the jungle and begins calling out for her father, but she has wandered out of earshot of the camp. Tarzan catches up with her. Jane is afraid of this jungle man at first until she notices that he is returning her clothing. 

[5] Casting Tarzan himself was obviously one of the biggest decisions that had to be made with this project. I looked at a lot of different actors and directors, trying to figure out the best combination. Other finalists for the title role were names like Henry Cavill, Tom Hardy, and Ryan Gosling. I have to give a huge thanks to Chad Taylor for putting the idea of Jason Momoa as Tarzan in my head. I originally had been looking at more traditional casting takes, but Momoa is the only one I could really picture as having grown up in the jungle raised by apes. Once I had Momoa set, it only made sense to bring in James Wan since they seemed to enjoy working together on the Aquaman films.

A torrential rain storm descends upon the jungle, turning leaves into drums. Professor Archibald Porter, paces, worried about the whereabouts of his daughter Jane. He is about to head off into the jungle after her, but Rokoff blocks the path, urging him to wait for her by the fire. He then orders Paulvitch to pile more wood onto the fire to make it bigger and more visible. 

Jane is unsure of where to go in the storm for shelter. Tarzan silently guides her to a treehouse he has built above the jungle. Inside are many of the items from the Claytons' shelter, including the photograph of John and Alice and John's journal. Jane begins looking through the items, quickly realizing that her mysterious jungle protector is the long lost heir to the Lord Greystoke title that John Clayton had held. Jane tries to communicate with Tarzan, learning that he does not know how to speak English. She points to herself, repeating her name "Jane". She then points to him. He struggles to find the syllables, finally uttering out "Tarzan". [6]

[6] I love the chemistry between Momoa and Atwell in this scene - and the rest of the film as a whole. At this point, I cannot imagine anyone else other than those two together. Their chemistry is fun and romantic - another element I have found lacking in a lot of previous Tarzan adaptations. Alexander Skarsgard and Margot Robbie did not sizzle in The Legend of Tarzan, and Christopher Lambert and Andie MacDowell had zero chemistry in Greystoke - which wasn't helped by Lambert not knowing English and MacDowell's entire vocal performance being dubbed over by Glenn Close. I wanted that Johnny Weissmuller-Maureen O'Sullivan chemistry but in a modern blockbuster way. One film I always went back to as a tonal comparison for what I wanted for my Tarzan were the Brendan Fraser-Stephen Sommers Mummy movies, which featured top-notch chemistry between Fraser and Rachel Weisz.

As morning dawns, Tarzan helps lead Jane back to her father and the camp. Professor Porter is relieved to see his daughter safe and sound and asks where she was all night. Jane points toward the trees where Tarzan is perched. He is wary of the sight of other men and leaves when Jane tries to introduce him, swinging away into the foliage. Professor Porter is fascinated by the sight of Tarzan, believing he could be a missing link on the evolutionary chart between ape and man. Professor Porter encourages Jane to befriend the ape-man so they can learn more. Jane laughs at her father, telling him that Tarzan is not part-ape - he is the son of John Clayton, the Lord of Greystoke. Professor Porter is at first disappointed that Tarzan is not an undiscovered humanoid species, but the information triggers his mind, remembering aloud that Clayton and his wife were lost at sea and presumed to be drowned. Jane tells her father that she read part of John Clayton's journal which described washing ashore and tending to his pregnant wife until she gave birth to her child, a baby boy. Jane then tells her father that the baby boy in question is Tarzan, who has survived in the jungle all these years. [7]

[7] The character of Professor Archibald Porter - who I changed the first name of from 
Archimedes - was very useful to have as a way to pump out a lot of exposition while also bringing a smidge of comedic relief. Timothy Spall has always felt underrated to me, so I had a joy developing the character with him.

Rokoff and Paulvitch, meanwhile, are studying a secret map which purports  to reveal the location of the ancient lost city built on gold called Opar. Rokoff curses the map as it is not made up to modern standards, meaning they still will have some work cut out for them if they are to find the treasure they seek. Paulvitch suggests they simply find someone who knows the jungle to guide them, then kill them and take the treasure for themselves. Rokoff likes the sound of that idea. [8]

[8] Rokoff and Paulvitch both appeared as villains in a couple of the Tarzan books, so Russian spy and count Rokoff and his henchman Paulvitch seemed like a natural choice to give some Euro villain flavor to the story.

Jane takes her father to Tarzan's treehouse, where he is fascinated by the artifacts of Tarzan's past that he has gathered. While he studies John Clayton's journal, Jane continues to teach Tarzan to speak. Once he can say his name - and hers - they move on to simple nouns, verbs, adjectives. Jane has begun to fall for Tarzan and asks her father for advice. He tells her that the heart does follow the rules of science or logic, it follows its own rules. Professor Porter tells his daughter that she must listen to her heart instead of the mind.

Rokoff and Paulvitch make their way to the village of the Waziri tribe. Rokoff demands that the tribe's chief, Muviro (Babs Olusanmokun), lead them to the lost city of Opar as their map describes. Muviro tells Rokoff that his tribe has never encountered the city, but there is one man who knows the jungle better than anyone - the man-ape Tarzan - as he knows the jungle's heart. [9]

[9] Like many of the details I chose to include in this film, Muviro and the Waziri tribe should ring a bell as they have also appeared in multiple Tarzan novels. I really wanted this world of Tarzan's Africa to feel very developed, lived-in, and with its own history.

Jane visits her father's camp where she and Professor Porter are held at gunpoint by Rokoff and Paulvitch. Rokoff kidnaps Jane and drags her through the jungle until confronted by Tarzan. Rokoff smiles and demands that Tarzan lead him to Opar. Tarzan does not understand what he means. Rokoff pulls out the map and Tarzan recognizes some of the symbols on it. Rokoff promises to release Jane unharmed if Tarzan leads them to the location. Tarzan reluctantly leads them through a labyrinth of jungle until they reach a massive ancient wall. Rokoff matches engravings on the wall to symbols on the map. Rokoff tells Tarzan that he wishes he could say he's a man of his word, but even he isn't that deluded. Rokoff then fires his rifle at Tarzan, hitting him in the shoulder. Professor Porter objects, but is held at bay by the weapons of the Russians.

Rokoff employs the Waziri tribe to help break down the wall, promising to pay them with some of the treasures they find within the walls. The tribe slaves away as a reluctant workforce for Rokoff. When Muviro sees the unconscious Tarzan, barely holding onto his life, he carries him away from Opar's walls, deep into a swampy part of the jungle that is home to Futa (Peter Mensah), the witch doctor. [10] Rokoff becomes impatient with the progress of the Waziri tribe at knocking down the wall, so he and Paulvitch begin prepping bundles of dynamite he has traveled through the jungle with.

[10] Witch doctors and African spiritual folklore were long part of the book series that hasn't really been brought to any of the big screen adaptations before, so I had to include. One of the cool, unique aspects of working on this film was getting to find some African-born talents to portray the African characters. It allowed me the privilege of working with great talents like Peter, Babs, and Lesley-Ann.

Futa performs a healing ritual for Tarzan. As herbs are burned and ancient spells are whispered by the witch doctor, Tarzan's wounds begin to rapidly heal. Finally, Tarzan leaps to his feet, his strength renewed. Muviro informs Tarzan what has happened. Tarzan and Muviro charge through the jungle, back toward the walls of Opar when they hear a massive explosion and feel the earth rumble beneath their feet. Their pace quickens.

The walls of Opar crumble in a cloud of dust. Rokoff calls out for the Waziri to begin searching for his gold, but something stirs in the ruins of Opar. Humanoid leopard people emerge from the city's structures, members of the ancient Leopard Society. Their queen, La (Lesley-Ann Brandt), cries out a feline war cry. Rokoff and Paulvitch arm themselves and head into the temple at the center of Opar, dragging Jane along, believing the treasures they seek will be there, leaving the Waziri to fend for themselves against the attacking Leopard Society. Rokoff and Paulvitch shoot their way through the carnage until Paulvitch is mauled by multiple leopard people. [11]

[11] Another prominent element of the books that has long been eschewed by the various adaptations is the supernatural and creature elements. In fact, the only times I can think of where adaptations really dove headfirst into the fantastical are the 1990s TV series "Tarzan: The Epic Adventures" on the small-screen and and 1998's Tarzan and the Lost City on the big screen - which is a very underrated Tarzan adaptation featuring Casper Van Dien in the title role right around the time of Starship Troopers that I would rank ahead of most other modern takes. 

Tarzan arrives in Opar to see the ongoing battle between the Leopard Society and the Waziri tribe. Muviro joins his tribesmen in battle. Tarzan fights through the crowd, arming himself with spears from fallen Waziri, on a desperate search for Jane. Tarzan finds a tied up Professor Porter and cuts him free. Porter leads Tarzan to the temple where Rokoff has taken Jane. 

Inside the temple, Rokoff has found the treasure he has sought - a giant mountain of gold. He begins greedily filling his pockets with gold when La emerges with a roar. Jane tries to calm the situation, but La begins chanting a spell that shakes the earth. Lava begins erupting from cracks in the floor of the temple, which has been built atop an underground volcano. Rokoff tries to run away, but is weighed down by gold and falls to his demise into a molten sinkhole. La, thinking that all the others are there for the gold of Opar as well, continues her attack and is about to kill Jane when Tarzan swoops into action, blocking La's bladed scepter. La then turns her attack toward Tarzan. [12]

[12] The climactic action sequence is where I feel that my influences from The Mummy, as well as Pirates of the Caribbean, are probably most apparent - between the scale, action, drama.

Muviro calls off his Waziri tribe, convincing them that all the gold in the world is not worth the deaths of the people. The Waziri flee from the violently erupting volcano as lava flies through the air. They still must fight their way out of Opar against the seemingly unstoppable leopard people.

Professor Porter unties his daughter. Jane grabs Rokoff's fallen gun and fires it toward La as a warning shot. La pauses her attack. Tarzan and the Porters back away, trying to convince the leopard queen that they have no desire for her gold. She hisses at them as they continue to back away as the earth continues to rumble. La slams her scepter into the floor, causing the eruption to suddenly stop. The leopard society stops their attack, all returning back into the ancient structures of Opar. Tarzan, Jane, Professor Porter and the Waziri tribe all leave Opar. On their way out, the Waziri begin piling up stone to reseal the walls to Opar, realizing now that a wall was built around the city for a reason.

Tarzan accompanies Jane and Professor Porter to a port where a ship is waiting to take them back to England. Professor Porter asks Tarzan if he wants to come back with them to claim his family's estate and his rightful title. Tarzan does not see any meaning in those, claiming that the jungles of Africa are his home. Jane gives Tarzan a brief kiss before she boards the ship. Tarzan is saddened to see Jane drift away on the boat. Aboard the boat, Professor Porter sees how much his daughter has grown to love Tarzan. He tells her that he would not be offended if Jane chose to stay in Africa with Tarzan. Jane gives her father a big hug and dives into the water, swimming back to shore and into the arms of Tarzan. They share a passionate kiss in the African surf. Tarzan tells Jane there is someone he would like her to meet. Tarzan leads Jane through the jungle to the gorilla nest where they are greeted by an elderly Kala. Tarzan gives his gorilla mother a hug and introduces her to Jane. Kala reaches out and touches Jane's cheek, accepting Jane as another member of the family. [13]

[13] That was Tarzan for you. It was some of the most fun I've had writing since it gave me the excuse to dive into my collection of Tarzan novels for inspiration and kind of reinvigorate that love. I assure you, Tarzan will eventually return to LRF screens. I just need to hunker down and write the thing!



From the Desk of Alfie Ellison, VP of International Development: Persona

 

Last Resort Films is moving forward on a bold new adaptation of Ingmar Bergman’s landmark 1966 Swedish film Persona, with Sydney Sweeney (Poison Ivy, Gracie) and Florence Pugh (A Lost Sense of Heaven, Beasts) set to star. The project aims to reintroduce Bergman’s haunting two-hander to contemporary audiences while remaining true to its psychological intimacy and stark, unsettling atmosphere.

The original Persona follows the enigmatic bond between a renowned actress (Sweeney) who has fallen mysteriously silent and the nurse (Pugh) assigned to her care. The story unfolds as a taut, dreamlike meditation on identity, performance, and human connection. The new adaptation will explore these themes through a modern lens, capturing the same spirit of fractured intimacy while allowing two of today’s most dynamic performers to push themselves into daring, uncharted territory.

“This is not a casual undertaking, Persona is a cornerstone of world cinema, and our adaptation must honor that legacy while also standing as its own daring piece of storytelling. Sydney and Florence bring a rare intensity and commitment that makes this possible.” LRF’s President Phil Dolan.

For Pugh, the project represents an artistic milestone. “Persona has haunted me ever since I first saw it,” Pugh said in a statement. “It asks questions about identity, silence, and the masks we wear, something that I think is most relevant today. To step into this story alongside Sydney, who I admire endlessly, is both terrifying and exhilarating. I want audiences to feel that same sense of unease and intimacy that Bergman captured, but in a way that speaks to our time.”

No director has been announced yet, but sources indicate that Last Resort Films is in talks with several internationally acclaimed auteurs known for bold visual and psychological storytelling.

For any inquiries please contact LRF Vice President of International Development Alfie Ellison

Persona
Project Details
Adaptation of the Swedish 1966 film
Attached Talent
Star Sydney Sweeney
Star Florence Pugh

Sunday, February 22, 2026

Top 10 Dave Bautista Films

 
Sherman J. Pearson here for another Top 10. Dave Bautista has been a steady presence throughout LRF's history but now it seems like he's set for one of his biggest roles yet this round, the historical epic Blood and Glory. I haven't had a chance to watch it yet, but in the interim I did take a look at the rest of Bautista's filmography.


Top 10 Dave Bautista Films
10. ThunderCats
9. Tekken: Blood Feud
8. How to Survive in Hell
7. The Banded Ants
6. Flash Gordon
5. Halo: Reach
4. Mortal Kombat
3. The Fall Guy: Trouble in Tahiti
2. Man Made Machine
1. Batman: Knightfall

Release: Blood and Glory

 

Blood and Glory
Genre: Action/Historical/War
Director: Tarsem Singh
Writer: Jack Brown
Cast: Dave Bautista, Cosmo Jarvis, Jamie Campbell Bower, Sam Spruell, Said Taghmaoui, Paz Vega, Aiyasha Hart, Milo Gibson, Laurie Davidson, Anok Yai, Fares Fares, Richard Coyle, Alexander Siddig




Budget: $100,000,000
Domestic Box Office: $54,499,254
Foreign Box Office: $142,167,293
Total Profit: -$4,102,064

Reaction: It was a bit disappointing that Blood and Glory just missed out on profits. The foreign box office numbers were very solid, but it was at the domestic box office that this one sealed its financial fate.




"Visually striking, with massive battle set pieces, impressive period detail, and a palpable sense of scale that makes you feel the weight of empire and war with brutal exhilarating combat. That said, the pacing gets bogged down by excessive nudity, long feasts, and drawn-out palace politics that slow the momentum. While the romance and intimacy scenes add flavor, they occasionally distract from the larger narrative of conquest and strategy. Overall, it’s a visually compelling, blood-soaked historical epic that rewards patience but some scenes went on too long to keep me fully engaged." - Dexter Quinn, Cinematic Observer Newsletter 


"There’s no denying Tarsem Singh can shoot a battlefield like it’s a Renaissance canvas splashed with blood. Blood and Glory is part fever dream, part Xbox cutscene, and while it doesn’t always hit the high notes of historical drama, it’s rarely dull. Cosmo Jarvis’s Alexander is brooding and magnetic, and Dave Bautista brings a brutish, wounded dignity to Darius. Yet for all the stylized chaos, the film sometimes forgets to breathe. Quieter moments - like Barsine’s conflicted presence between the two worlds - hint at the depth this could’ve had if it weren’t so committed to spectacle. It’s a guilty pleasure, gory and messy, but just gripping enough to keep you watching." - Kendra Voss, Neon Riot Review


"While Blood and Glory is not without its bombast and indulgence, there’s a certain brutal majesty to Tarsem Singh’s vision that’s difficult to deny. The film revels in operatic pageantry - gleaming bronze, rivers of blood, and dueling kings who feel carved from stone. Singh’s tendency toward slow-motion tableaux occasionally tips into self-parody, but at its best, the imagery achieves something undeniably mythic. Dave Bautista lends Darius a commanding gravity, while Cosmo Jarvis’s Alexander balances ferocity with flashes of doubt. The narrative may be thin, but in sheer visceral terms, the film succeeds as an overwhelming, almost painterly evocation of ancient conquest." - Harold Penworthy, The Silver Screen Quarterly









Rated R for graphic bloody violence and sexual content/nudity





Saturday, February 21, 2026

Fact to Film: Blood and Glory

 

Welcome back for another edition of Fact to Film! This time around are taking a look at the historical war epic Blood and Glory from director Tarsem Singh (Constantine: The Hellblazer, Paradise Lost) and writer Jack Brown (We Still Know Where You Live, The Crow: Yomi).
















Now Showing: Blood and Glory

 
Blood and Glory
Genre: Action/Historical/War
Director: Tarsem Singh
Writer: Jack Brown
Cast: Dave Bautista, Cosmo Jarvis, Jamie Campbell Bower, Sam Spruell, Said Taghmaoui, Paz Vega, Aiysha Hart, Milo Gibson, Laurie Davidson, Anok Yai, Fares Fares, Richard Coyle, Alexander Siddig

Plot:
334 BCE.
The Persian Empire spans from the Nile to the Indus.
Alexander of Macedonia rises in the West, while Darius - King of Kings, rules Persia.
Two kings. One world. Only one will rule.

Atop a massive ziggurat in Persepolis, Darius (Dave Bautista) slits the throat of a bull before an assembly of generals and nobles. Blood pours into a stone basin. He stands silent as flames rise behind him. Bessus (Saïd Taghmaoui) and Mazaeus (Fares Fares) - his generals - flank him. Across the sea of bowed heads, Darius' beloved wife and queen Stateira (Paz Vega) watches behind a curtain of incense smoke. Inside the throne room, Darius listens to reports. Mazaeus urges preemptive strikes against the approaching Macedonians. Bessus proposes letting them come further inland, where they can be swallowed whole. Darius raises a hand. No more. They wait. He turns to his daughter Barsine (Aiysha Hart), dismissing her from the room. Her eyes linger on her father before she exits into the colonnade.

Atop a massive ziggurat in Persepolis, Darius (Dave Bautista), muscled and marked with sacred scars, drives a blade across a bull’s throat before a crowd of nobles and priests. Blood spills fast into a stone basin. Flames roar behind him. His generals - Bessus (Saïd Taghmaoui), lean and conniving, and Mazaeus (Fares Fares), intensely quiet - watch from behind the altar. Stateira (Paz Vega), his veiled queen, sits above. Inside the palace, incense snakes through the throne room. Nobles shout over one another. Mazaeus urges a swift strike against the Macedonians. Bessus suggests drawing them inland and burying them in the desert. Darius says nothing. Then he lifts a hand to excuse his  daughter, Barsine (Aiysha Hart) from the room.  She bows slightly and exits. Outside, Barsine passes guards training with spears. She pauses, watching. A Persian soldier slams his opponent to the dirt, then grins up at her. She turns without a word. 

Torrential rain. A funeral pyre burns as King Philip II lies dead - an arrow jammed through his eye. Macedonian generals whisper among themselves. Ptolemy (Laurie Davidson) watches as Philip's son (Cosmo Jarvis) kneels beside the body, soaked to the bone. Philip's most trusted general, Parmenion (Sam Spruell) urges swift vengeance - name the traitor, spill blood. Cleitus (Milo Gibson) throws a severed head to the cobbles. Hephaestion (Jamie Campbell Bower), pale and composed, stands near Alexander, always near. Alexander says little. Just watches the fire. Later, in the darkened palace, Alexander drinks with Hephaestion. They sit close. Too close for brothers-in-arms. Hephaestion places a hand on his shoulder. Alexander leans into him—but pulls away when footsteps echo outside. Parmenion enters, laying out maps of the Persian frontier. Antigonus (Richard Coyle) follows. They speak of swift retaliation. Alexander stands and declares they will march southeast. No delay.

In a temple in an oasis of the Siwa desert, Alexander kneels before the Oracle of Amun (Anok Yai) - a striking figure with ink-black skin and long limbs painted gold. She touches Alexander's forehead and offers him a black draught. He drinks. Visions seize him - blood, a snake, a burning eagle, a thunderclap. Alexander gasps awake. The Oracle's priests lift Alexander back to his feet.  The Oracle whispers: “You are the son of Zeus.”

At the Persian court, Darius presides over a war council. Mazaeus reports Alexander’s advance. Bessus calls him a boy with a dead father’s sword. The council grows loud until Darius slams a mace into the table. Barsine enters and addresses him publicly, warning against underestimating the Macedonians. The generals scoff. Darius listens. She bows and leaves. That night, Barsine lies nude in a stone bath, steam rising. A noblewoman enters, half-drunk, joining her. They speak softly. Their legs touch beneath the water. Fingers trace skin. Barsine pulls the woman closer.

On the Aegean, the sea thrashes as hundreds of Macedonian warships surge forward. Horses scream below deck. Alexander stands at the prow, cape whipping. Behind him, Hephaestion watches. Parmenion barks orders to the soldiers. As they land, horses crash into the shallows. Soldiers wade ashore, spears raised. Alexander orders the ships burned - they will not return. Cleitus laughs and jams his spear into the sand. Fire spreads across the hulls.

In Susa, Darius hosts a pre-war feast. Fat lambs roast on iron spits. Slaves pour wine and strip meat from the bone. Bessus mutters about Greek arrogance. Mazaeus advises caution. Barsine enters in white silk, all eyes turning. She lifts her cup, toasts her father, then cuts into him with veiled words about the price of pride. Darius listens without reply. Stateira eyes her coldly. When the feast ends, Darius walks alone into the palace gardens. There, he finds Artabazus (Alexander Siddig). They speak briefly. Artabazus warns that Alexander may not be the directionless boy they expected, but rather a power-hungry king - truly King Philip's blood.

At the Granicus River, the Persian cavalry waits across a violent current. They beat drums. Alexander, gleaming in bronze, steps forward. Parmenion warns him to hold back. Alexander doesn’t flinch. With a shouted command, he charges into the river, spear raised. Arrows fall like black rain. Water explodes. Horses crash into each other. Macedonians roar and follow. Cleitus tears through a line of archers, dragging one man under the water with a scream. The water turns red. Alexander takes a blade to the face but fights on, blind with blood. He emerges on the opposite shore, roaring as the Persians break. 

In Persepolis, Darius hears of the loss. He crushes a goblet in his hand, blood mingling with the wine. He shouts for silence. Bessus urges retreat. Darius draws a dagger and drives it into the map. That night, under the temple flame, Darius dons war armor. Stateira watches him nervously. 

As dawn rises over Gaugamela, Persian troops stretch to the horizon. They ride chariots spiked with blades, their faces masked in iron. Darius, clad in black-scaled armor, rides the lines in silence. Bessus and Mazaeus trail him. 

In the Macedonian tent, Alexander stands before his generals. Maps litter the table. Ptolemy traces Darius’ likely movements. Parmenion recommends a flanking maneuver. Alexander nods as though he is listening to Parmenion, then orders a direct charge - the exact opposite of his general's recommendation. Hephaestion approaches Alexander in private. He tells him there are other paths to power than a bloody battlefield. Alexander brushes his hand against Hephaestion's chest before turning away. As night falls in the Macedonian camp, drums pound, soldiers drink and sharpen blades. Cleitus drinks deep and dares three men to fight him barehanded. He beats two bloody before the third pins him. He laughs, spitting teeth. In his tent, Alexander strips off armor. Hephaestion enters. They undress each other in silence. Their bodies collide, nude. 

At sunrise, Darius raises a blade skyward to signal his army. Battle explodes. Macedonian phalanxes crash into Persian cavalry. Arrows darken the sky. Chariots scythe through infantry, cleaving legs and heads. Parmenion’s line falters, then rallies. Alexander rides hard at the center. Blood arcs in sprays as he splits horsemen down the spine. Darius charges from the opposite flank. Their eyes lock. Darius cuts a swath through Macedonian footmen, crushing skulls with his war hammer. 

In the Persian camp, Barsine watches the carnage from a distance. Stateira kneels in prayer. Barsine sneaks away on foot, into the haze of the battlefield’s edge.

Back in the chaos, Cleitus saves Alexander from a charging chariot, dragging him free by the cloak. Alexander thanks him with a grunt and dives back into the fray. He impales a Persian archer, pulling the man’s bow through his throat. Hephaestion is wounded by a cut across his shoulder while fighting beside Ptolemy, who buries an axe into a Persian captain’s face. The Persians begin to break. Darius watches his men scatter. He slams his war hammer into the ground in fury, then retreats in silence, blood streaming from a wound in his side. Barsine emerges from behind shattered wagons. She watches Alexander in the smoke. 

Later, in the Persian camp, Darius lashes out in fury. Bessus urges regrouping at Ecbatana. Mazaeus suggests entrenching in Babylon. Darius punches a pillar, shattering the stone. Stateira bandages his wound. 

Meanwhile, in the Macedonian tent, Alexander washes blood from his arms. He looks exhausted, not victorious. He watches Hephaestion sleep. Cleitus enters, drunk and laughing. He mocks the Oracle’s prophecy. Alexander lashes out - grabs him by the throat for a moment, then lets go. 

In the royal palace of Ecbatana, Darius sits silent. Bessus tries to argue that they must take control of the remaining forces and retreat east. Mazaeus warns that the men no longer trust Darius’ vision after their earlier defeat. Stateira steps forward to tell Darius he must crush Alexander with whatever strength he has left - or hand the empire to another man. Darius sighs, then declares that he will face Alexander himself.

Back in the Macedonian camp, Alexander walks through the tents alone. He finds Barsine waiting. She stands outside the supply pavilion. He asks who she is. She doesn't answer, instead stepping forward for a rough, sudden kiss. She bites his lip. Inside the tent, they tear into one another passionately. At dawn, Barsine puts back on her clothes and slips away. Alexander watches her disappear into the mist.

On the outskirts of Ecbatana, Darius inspects the terrain, trying to anticipate the path Alexander's forces will take. 

Alexander's forces approach the edge of Ecbatana. Skulls mark the paths. Persian soldiers hang from trees - executed by their own for retreating. Alexander orders the men to halt. He wants Darius alive. They continue to advance through a canyon. Arrows tear through the ranks in an ambush. Soldiers die screaming, impaled to horses. Bessus leads the attack. Alexander survives, but barely. Cleitus rips a dagger from his own thigh and plunges it into a Persian rider’s throat. Hephaestion hurls a spear into another’s chest. Alexander cuts down three attackers. After the battle, Parmenion confronts Alexander. He demands they regroup. Alexander refuses. They argue. Parmenion accuses him of madness. Alexander nearly strikes him - Hephaestion pulls him back. Parmenion rides off.

In the Persian war tent, Bessus argues with Darius, calling him weak and suggests Darius should take his own life before the Macedonians do. Darius holds his tongue and calmly pours himself some wine. After Bessus leaves, Darius looks out and sees a lion pacing the distance before disappearing into the hills. 

Persian banners ripple in the breeze at dawn over Ecbatana. Alexander’s army advances through scorched fields—formation tight, shields bloodied from the canyon ambush. Smoke trails rise behind them. Ptolemy narrates: “A god does not knock. He breaks the door.” Inside the city, Darius prepares for war. He dons a scaled bronze cuirass. Stateira helps tighten the straps. Darius tells Stateira and Barsine that if he falls in battle, make sure people remember him as more than a man. 

Alexander’s army surrounds the walls. Siege towers roll forward, spears poking from slits. Ballistas fire. Persian archers ignite tar and launch volleys. Flames streak the sky. A tower collapses, killing dozens. A Macedonian soldier burns alive, screaming until he drops from the parapet. Alexander leads the charge himself. He scales the walls under a hail of arrows, plunging his sword into a Persian spearman’s throat. Blood sprays the stone. Behind him, Cleitus covers the flanks - smashing heads with a mace, screaming curses. Hephaestion follows, slitting throats and slipping through gaps. Inside the city, Darius stands at the palace gate. Antigonus breaks through the western gate. Darius confronts him alone, driving a spear through Antigonus' belly. Antigonus gasps, blood pouring from his mouth. Darius finishes him with a brutal stomp to the head, crushing his skull to pulp.

The two armies clash at the heart of Ecbatana. In narrow alleys, men choke each other in puddles of blood. Swords snap. Shields splinter. One Persian rider is pulled from his horse and torn apart by Alexander’s infantry, limbs breaking like sticks.

In the temple square, Alexander and Darius finally meet, drawing their swords. Their duel is savage. Alexander hacks downward—Darius blocks and counters, driving a knee into his gut. Alexander spins, cuts Darius’ thigh. Darius slams his gauntlet into Alexander’s face. They bleed and fight like gods. Alexander knocks Darius’s sword away. Darius lunges barehanded. Alexander drives his blade through his heart. Darius gasps. Blood fills his throat. He grabs Alexander’s arm, gripping it, not as an enemy, but as an equal. Then he collapses.

Around them, the Macedonians have overrun the city. Bessus is gone. Mazaeus captured. Later, Alexander walks alone through the ruins. He finds Barsine among the ashes. Her hands are tied by a soldier. Alexander orders them cut. Barsine doesn’t thank him, instead asking what he will do to her after he killed her father. He says he intends to marry her. 

Buzzards pick at the corpses on Gaugamela's battlefield. Soldiers drag Darius’s body onto a burning pyre as Alexander has insisted on a funeral for the Persian king. Alexander orders his men to give Darius the same honor they recently gave his own father - to be burned like a warrior king. Bessus is brought in chains. Alexander nods to Cleitus, who then slams an axe into Bessus's face, splitting it in half. Blood and brain matter spray the dirt. The soldiers cheer, but Hephaestion and Ptolemy do not. Barsine stands before her father's pyre. Alexander joins her, taking her hand to lead her to his tent. That night, they have sex - fast and bitter. She lets him finish, then turns away. 

In the middle of the night, Alexander finds Hephaestion reading a scroll by firelight. Alexander sits beside him, kissing him briefly.

Meanwhile, Cleitus and Parmenion drink heavily near the campfires. They brag of victories, mock Persian customs, laugh. Antigonus is dead, but they drink in his name.

In Babylon, Macedonian banners wave in the wind. Alexander rides into the city with Barsine beside him. The Persian people kneel. Macedonians cheer. But within the cheering crowd, assassins lie in wait. A dagger is thrown - Cleitus blocks it with his arm and the attacker is slain by Hephaestion. Alexander doesn't flinch during the ordeal. He tells the crowd that if they wish him dead, they will need to try much harder than that.