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🕑 Added 2025-08-11 17:12:13 +0000 UTCChapter 441: The Song of Marvel
The song Something Just Like This came out in early 2017 and took the world by storm right away. It ended up being the most clicked and downloaded track globally for 2017-2018!
But here’s the twist: Dunn—our guy—wrote it more than a decade early. He tweaked the lyrics a bit, swapping out the original names like Achilles, Hercules, Batman, and Superman for Marvel heroes like Odin, Thor, Daredevil, and Captain America.
Sure, it’s just him and his guitar—no electronic beats, bass, or keyboard harmonies to back him up—but Dunn’s got some serious skills. He’s channeling the spirit of the “Prince of Pop,” and his playing is so good it almost feels trippy.
You can tell just by looking at the four gorgeous listeners in front of him right now.
After a 30-second solo, Dunn moves into the second verse—
“I’ve pored over old books,
Those ancient legends and endless mysteries,
Like the Avengers they speak of,
Like the Midnight Sons under a full moon’s eclipse,
And Iron Man, suited up,
Ready to take flight.
But that’s not my fate.
She asked me, ‘Where do you want to go?
How much more will you weather?’
I don’t crave
To be gifted like Ant-Man,
Or invincible like a superhero,
Or even the fairy-tale happily-ever-after.
All I want is someone to lean on,
Someone I’ll miss—
That’s you.
That’s all I want,
The only thing I need…”
The guitar fades out, and Dunn sets it down with a smile.
He’s expecting applause, but it doesn’t come. The four women—Natalie, Sayuri, Chihiro, and Pen—are still lost in the song, their faces stunned.
“So, how’d I do?” Dunn finally asks.
That snaps them out of it. They gasp and exclaim all at once. Natalie stubbornly wipes a tear away, her face a mix of shy joy and playful annoyance as she glares at him—like it’s somehow Dunn’s fault she got emotional and everyone saw.
Dunn walks over, plops down between Natalie and Sayuri, and throws an arm around each of them.
Sayuri’s expression sours, her lips puffing out in a pout. Clearly, Dunn’s blatant affection toward Natalie is rubbing her the wrong way. When it comes to singing, Sayuri’s easily two levels above Natalie! Dunn wrote this song for Natalie and not her? That’s just unfair.
“Cheer up, give me a smile. I’ll write you a song too someday,” Dunn whispers in Sayuri’s ear.
She’s got a big heart—unlike Natalie, who can be a little petty sometimes. Right now, Dunn’s main mission is keeping Natalie happy and getting her to accept Sayuri as girlfriend number two without starting a family feud.
So far, it’s looking good!
Natalie leans into Dunn’s chest, resting her head on his shoulder, looking blissful. Even when he whispers to Sayuri, Natalie’s all smiles.
That song? It was too good.
And the unfiltered love in it? It hit Natalie right in the feels.
“Did I sing it well?” Dunn asks, planting a kiss in Sayuri’s hair.
Sayuri, dead serious, says, “I think it was amazing—better than Elvis! Dunn, honestly, even if you quit movies, you’d be a top-tier singer.”
Dunn turns and kisses Natalie too, grinning as he asks, “What about you?”
Natalie smirks, “It was alright, I guess.”
Dunn pulls an exaggerated face. “Alright? Your standards are way too high!”
Natalie huffs, “Well, Natalie Portman’s boyfriend has to meet high standards and tough expectations!”
Dunn sighs dramatically, “Good thing you met a guy like Dunn Walker.”
“Pfft!” Natalie shoots him a teasing side-eye. “Shameless!”
Meanwhile, Chihiro and Pen, sitting off to the side, exchange awkward glances. Watching this lovey-dovey trio is a bit much for them. They share a wry smile and quietly slip away.
Natalie lifts her chin proudly and hums, “What’s this song called? Just Like This? Hmph, don’t think I can’t see through you. This is obviously The Song of Marvel!”
Dunn just smiles, saying nothing. With Natalie’s smarts, it’s no surprise she’s caught the deeper meaning.
Sayuri, though, looks puzzled. “Song of Marvel? What’s that mean?”
Natalie explains, “Didn’t you hear the lyrics? Spider-Man, Daredevil, Iron Man, Ant-Man, Thor, Captain America—they’re all Marvel superheroes!”
Sayuri blinks her clear blue eyes, still confused.
Natalie lays it out like a pro: “Spider-Man 2 hits theaters in six months. Next year, it’s Daredevil. Then there’s Iron Man, Ant-Man, and Thor—all key members of the Avengers’ first lineup. Hmph, this sneaky guy wants me to sing it and help him hype up these movies for free!”
Dunn laughs, “Not just you—us. A Hollywood tycoon and a Harvard golden girl. We’re the perfect power couple. Once this song drops, it’ll be a massive hit.”
Natalie nods, “People have only seen the Spider-Man movie so far. With this song building buzz, they’ll get curious about Daredevil, Iron Man, and Ant-Man. Forget the films—even the comics will shoot up in value.”
Sayuri finally gets it and gasps, “Dunn, you’re so sneaky! Didn’t you say this was Natalie’s Christmas gift? Turns out it’s for movie hype—to make money!”
Dunn huffs, “What are you saying? I’m earning money so you two can live better lives!”
Sayuri tilts her head, puzzled. “But life’s already good enough. I’m happy as is.”
Dunn nearly chokes.
Natalie flashes a toothy grin, barely holding back laughter. She whispers in his ear, “That’s what you get for chasing women—serves you right!”
Dunn glares at her, then pulls both girlfriends closer, clears his throat, and says with manly authority, “Tonight, the three of us are sleeping together.”
“No way!” Natalie snaps, her face flushing with a mix of anger and embarrassment. She’s always hated him saying stuff like that in front of others.
Sayuri, unfazed, shrugs. She’s already shared a bed with Dunn alongside Rose and Pen before—no big deal. She frowns slightly, “I can’t, though. You know, I’m not feeling great these days.”
Dunn nods, “Tonight, I’ll stop by Pen and Chihiro’s room first… just for a bit. I kinda ignored them earlier. After that, I’ll come back and cuddle you two—no funny business.”
Sayuri says, “Oh, okay,” totally fine with it.
Natalie nearly faints. Sharing Dunn with another woman in the same bed? That’s way too weird. “I’m not doing it!” she snaps. “I’ve been on a plane all day—I need rest!”
Dunn scoops Natalie onto his lap and waves Sayuri off. “Give us a sec alone.”
Sayuri pouts but gets up and leaves.
Dunn holds Natalie, kissing her for a few minutes before whispering, “Baby, be good.”
“No way!”
“Why not?”
“You know why!”
Dunn frowns, “Nat, listen. You’re my girlfriend, and so is she. You’re both super important to me. Sayuri’s not like the others—she’s a good, pure girl, just like you. You two should get along.”
Natalie pouts, “That doesn’t mean we have to sleep together!”
“Then what?” Dunn glares. “There’s only one of me—I can’t split myself in half!”
Natalie huffs, “Then alternate days!”
Dunn rolls his eyes, “Nonsense! Two of you means one day each—what about a third or fourth later?”
Natalie’s eyes widen. “You… you… how many do you want?! Two girlfriends aren’t enough?”
“Alright!” Dunn cuts her off, switching gears. “Look at Sayuri—she’s three years younger and so chill about it. You’re the older one, the number-one girlfriend. Set an example.”
“Nope!”
“Don’t you remember? Every time we’re together, I can’t fully enjoy it—I have to sneak off to another room. That’s so awkward. With Sayuri joining, it’d be perfect.”
“No, it wouldn’t!”
“Nat, think bigger. The three of us are a family. You can’t keep her at arm’s length forever. Open up a little—accept it.”
“Nope!”
“You should bond with Sayuri. Who knows, more women might come along later. Then you two could team up—take down anyone who challenges you. How great would that be?”
“Not great!”
Dunn’s patience thins. He lowers his voice sternly, “Natalie Portman, am I your man or not?”
Natalie purses her lips, mumbling, “Yeah.”
“Then as your man, I’m telling you: tonight, you and Sayuri wait for me in the room. Got it?”
Natalie bristles, “You can’t force me!”
“No one’s forcing you,” Dunn sighs, softening. “I promise, unless you’re okay with it, I won’t touch you in front of her. Just cuddling—how’s that?”
Natalie pouts, “You mean it?”
“Yep.”
“No tricks?”
“No tricks.”
She wrinkles her nose, muttering, “Jerk!”
Dunn’s inwardly thrilled—practically bubbling with glee.
Man, a guy’s gotta show some backbone sometimes!
Reasoning with her? Who knows how long that’d take.
Now she’s agreed to share a bed with Sayuri.
The rest? It’s only a matter of time.
A harmonious harem—future’s looking bright!
Chapter 442: 3 Billion in Revenue
By the end of the year, something big shook up Hollywood—big enough to climb all the way up to federal power structures, legal debates, and congressional hearings: the issue of pirated DVDs!
It was a mess that basically united the entire Hollywood machine. Every studio and organization pulled all their connections and resources to lodge a protest with the government.
Disney’s animated flick Monsters, Inc. had barely been out a week when pirated discs started popping up on street corners. By the time The Chronicles of Narnia and The Lord of the Rings hit theaters, it only got worse.
Those two movies were so huge that people were literally stopping cars to hawk bootleg DVDs—like, out-in-the-open, breaking-the-law stuff. It was basically street robbery with extra steps!
The Motion Picture Association of America filed a lawsuit with Congress, demanding an investigation and a crackdown.
The feds responded fast, notifying Disney, Warner Bros., Universal Pictures, Paramount, Columbia Pictures, MGM, and 20th Century Fox to gear up and cooperate. They’d already sent a task force to dig into it.
But guess who didn’t make the list? Dunn Pictures—the hottest studio of the past two years!
Officially speaking, the MPAA is Hollywood’s big representative. No matter how much cash Dunn Pictures rakes in or how many classics they churn out, they’re still not “fancy” enough for the old guard.
Dunn took it in stride. Less drama, more free time.
Juno was about to hit theaters—the first film out of Rose Pictures and Dunn’s first stab at a feminist story. It might be niche, but he wasn’t about to slack on it.
He’d already sent invites to the five biggest feminist organizations in the U.S. For Juno’s premiere, they’d hold a special screening to kick off some buzz for women’s rights.
Plus, it was year-end—time for the annual wrap-up.
The STA Network peaked at 15.8 million subscribers! After Band of Brothers wrapped, the numbers dipped a bit, falling just under 15 million.
Still, that didn’t stop STA from cashing a massive check from Comcast. After skimming off 8-10% for operating costs, they pocketed a cool 580 million USD!
For context, STA’s subscription revenue for the first half of the year wasn’t even 60 million.
Now, the movie biz…
This year, Dunn Pictures had three films in theaters: The Unsinkable, Mr. & Mrs. Smith, and A Beautiful Mind—all still showing.
Add in Saw, Traffic, and Girl, Interrupted from earlier in the year, and Dunn Pictures pulled in 850 million USD in box office splits for 2001!
Everyone knows the real money’s in the peripherals. The Unsinkable and Mr. & Mrs. Smith’s licensing deals are still in the works, with Universal Pictures playing middleman. The full financial picture won’t be clear until next year.
But Dunn Pictures already got last year’s peripheral revenue reports for Spider-Man, Girl, Interrupted, Saw, and Traffic.
Those four films hauled in 1.28 billion USD through merchandise, DVDs, pay-per-view, and TV licensing!
And Spider-Man alone? It accounted for 90% of that!
DVD sales: 210 million in North America, 90 million overseas. DVD rentals: 45 million in North America, 17 million overseas. Pay-per-view: 56 million. TV revenue: 110 million in North America, 80 million overseas…
Oh, and the Spider-Man toys? Absolute fire!
That life-sized Spider-Man figure, priced at 150 bucks a pop, sold 22,000 units in the first 12 hours. Over the past year, it moved 560,000 units total!
In the last 12 months, Spider-Man’s merchandise sales hit 1.67 billion USD!
Compared to the monster sales driven by Star Wars: Episode I – The Phantom Menace, it was only 280 million short!
Just from peripherals, Dunn Pictures pocketed 540 million USD.
That’s the true power of Spider-Man!
In its past life, Sony Group was teetering on bankruptcy, and it was Sony Entertainment that pulled them out of the fire. Sony Entertainment leaned on Sony Pictures, Sony Pictures leaned on Columbia Pictures, and Columbia Pictures leaned on the Spider-Man trilogy!
That’s how a once-mighty electronics giant like Sony ended up debating a pivot—cutting the electronics and gaming divisions to go all-in on entertainment.
For 2001, between Marvel Entertainment, Marvel Studios, STA Network, and all its subsidiaries, Dunn Pictures’ total revenue hit 3.02 billion USD!
Of course, spending was hefty too. Dunn’s got big hands when it comes to cash.
Investments in TV shows, movies, and animation hit 1 billion USD.
To grow STA Network, he splurged on TV rights for a ton of films. He also dropped 130 million USD to order three planes under Dunn Pictures’ name—one for the Dunn Pictures president, one for the Marvel Studios president, and one for general business use. Add in employee salaries and guild payouts…
By year’s end, Dunn Pictures’ expenses clocked in at 1.73 billion USD!
And that’s not all.
After over two months of negotiations, the IMAX acquisition was basically locked in.
Back when IMAX’s stock was at 1.1 USD, rumors of the buyout pushed it to 2.3 USD. Under CFO Brandi Norris, Dunn Pictures upped the offer to 3.5 USD per share, finally satisfying IMAX’s shareholders.
On top of the 180-million-USD deal, Dunn Pictures took on IMAX’s 40-something million in debt, bringing the total to 220 million USD!
Since it’s a public company, approvals and small shareholder exits are a hassle. The whole deal’s expected to wrap in six months.
IMAX’s original market cap was just 60 million USD, so shelling out 220 million sparked some grumbling inside Dunn Pictures.
Natalie’s mom, Shirley Hershler—the former financial head—had plenty to say about it.
She clearly wasn’t thrilled about some new CFO parachuting in above her.
But Dunn and Brandi Norris couldn’t stop raving about the deal.
“IMAX has developed this new DMR tech and is applying for a patent—should be approved by February next year. Once it launches, IMAX’s revenue and market potential are gonna skyrocket,” Brandi said, pretty pleased with herself for nailing this acquisition right after joining.
Dunn was even more stoked!
DMR tech basically converts regular movies into IMAX format.
It’s practically a revolution!
It opens the door for IMAX screens to pop up in regular theaters.
Bigger screens mean better viewing—who doesn’t know that?
IMAX screens used to be rare because there weren’t enough IMAX movies—shooting with IMAX cameras was a nightmare!
But DMR changes everything. It’ll pull IMAX out of the sidelines and into the mainstream, making it the hot new trend in moviegoing!
Spending 220 million USD on IMAX wasn’t overpaying—it was a steal!
If they’d waited for DMR to drop, the price could’ve doubled.
“What about Dolby Labs? That tough, huh?” Dunn asked, frowning.
Brandi shook her head. “It’s a family business thing. Dr. Dolby’s getting old, and he wants his son to take over. Dolby Labs is his life’s work—he doesn’t wanna sell to outsiders.”
Dunn’s voice dropped. “Isn’t he worried about ending up like Wang Laboratories?”
Brandi shrugged. “It’s not the same. Dolby’s operations are smaller, and little Dolby’s a scientist too. He’s been running things lately, doing a solid job—not some spoiled rich kid like Wang’s son.”
Dunn mulled it over, then said firmly, “No matter what, we’ve gotta snag Dolby Labs! Price-wise… we can bend a little.”
Dunn Pictures is swimming in cash right now—7 billion USD from Dunn Capital, plus 1 billion in profit this year. They’re basically debt-free, and if they borrowed, they could pull another 5 billion easy.
2002’s gotta be the year for some big moves!
Brandi chimed in, “Buying Dolby Labs isn’t actually that hard. Like I said, the key’s not just money—Dr. Dolby cares about control.”
Dunn narrowed his eyes, thinking back to Dolby Labs’ success under little Dolby in its past life.
Pretty impressive!
When Dolby went public in 2005, it was worth 2 billion USD. Under little Dolby, it grew like crazy, hitting a peak of over 7.5 billion.
More than that, Dolby’s brand value is huge. Their constant tech innovations keep making movie theaters better.
In that sense, they might even outshine IMAX.
Dunn nodded. “You know the Warner-New Line setup?”
“Huh?”
Brandi’s a finance whiz, not a Hollywood insider.
Dunn explained, “Warner bought New Line but let it run independently—financially and operationally. They signed a deal: Warner only steps in if New Line screws up big time.”
Brandi got it instantly. “Like if New Line tanks hard on a major strategy or loses a ton of money!”
In its past life, New Line’s big-budget flop The Golden Compass bombed so bad that Warner yanked their autonomy.
Dunn grinned. “Exactly. Dunn Pictures is a film company—we can give Dolby Labs a steady stream of movies to boost their business, like with DMR tech. As long as Dolby stays on a smart, fast, innovative track.”
Brandi nodded seriously. “If that’s the play… the Dolby father-son duo won’t be a problem!”
Chapter 443: Pro-Life vs. Pro-Choice
Cultural differences shape how we see the world—and what we value.
Is Juno a good movie?
In the East, with its understated plot, diary-like storytelling, simple sets, and straightforward cinematography, it’d probably just scrape by as “okay.”
But in the West? Juno fever went way beyond anyone’s expectations!
At nearly every screening, the audience leapt to their feet, clapping loud and long when it ended.
It’s kind of like how Eastern viewers might find Manchester by the Sea dull, while Westerners—especially North American film buffs—watch it and cry their eyes out. Even Bill Gates apparently sobs every time he sees it.
Juno is a small story that nails the vibe of every North American kid’s youth—their mindset, their memories.
It’s a青春 killer!
A nostalgia killer too!
After a limited release in late December, by January 2002, Juno rolled out across North America full force.
Even Roger Ebert, the big-shot critic from the Chicago Sun-Times, gave it a rare four-star rave in his column: “No question about it—compared to the commercial fluff of A Beautiful Mind, Juno is hands-down the best movie of the past year! Was there a single performance last year better than Natalie Portman’s Juno? I don’t think so.”
But this movie? It’s not just a movie.
It’s the first film from Rose Pictures—and a feminist one at that!
Music critic Jim DeRogatis didn’t hold back, slamming its symbolism hard: “As a veteran feminist, a dad to a girl about to hit her teens, a reporter who talks to real kids all the time, and an old-school movie nerd—I hate! Hate! Hate this film!”
Why? Simple. Juno treats pregnancy and abortion so casually it’s a slap in the face to older generations’ values.
The abortion debate even escalated into a full-on war of words!
Public opinion in the U.S. split hard into two camps—Pro-Life and Pro-Choice.
Pro-Life folks oppose abortion, saying the baby should be born.
Pro-Choice folks back abortion rights, arguing it’s a woman’s freedom to decide.
So what’s Juno about?
Obviously Pro-Choice!
But things were spiraling out of control. If the debate dug any deeper, it’d hit constitutional territory.
For Dunn, feminism’s just a tool—he’s not here to stir up trouble. He stepped in fast, ordering Rose Pictures and the Juno team to zip it. No subjective takes on the Pro-Life vs. Pro-Choice fight—period!
Sure, the film’s Juno considers abortion after getting pregnant, but it ends on a happy note—the baby’s born safe and sound. It nudges mainstream values a little, then backs off, quietly letting her have the kid.
Dunn even pulled some strings, hiring and rallying film critics to steer the conversation back to the movie itself.
Soon, a new vibe took over the review scene—
Hadley Freeman from The Guardian wrote: “Juno is like a living social emblem, summing up how films in recent years have framed abortion as unreasonable, even unthinkable. But I don’t think it’s deliberately pushing an anti-abortion agenda.”
A.O. Scott from The New York Times put it this way: “Juno has a core theme, and its message isn’t so much anti-abortion as it is a brighter take on growing up.”
Wesley Morris from The Boston Globe summed it up: “Juno gives smart, cool-headed girls something they rarely get in movies—themselves.”
Director Patty Jenkins stepped up to smooth things over too: “It’s amazing how both Pro-Choice and Pro-Life folks embrace this film. Juno is a mirror—people from either side can see themselves in it.”
Awards season usually saves space for artsy films and horror flicks.
Columbia Pictures slotted Black Hawk Down here because of 9/11—its schedule got bumped.
Dunn Pictures, meanwhile, had Resident Evil hitting theaters in January, with Saw II dropping in early February.
Resident Evil was already out, and Dunn had big faith in Zack Snyder’s work on it. He was even thinking of letting Zack tackle a blockbuster next—like, say, Ghost Rider!
Right now, Dunn’s overseeing prep for National Treasure. The lead, Nicolas Cage, is locked in, and Rose Byrne’s set as the female lead. After some back-and-forth with the production team, Ron Howard’s been tapped to direct.
But Juno’s ripple effect? It’s not fading anytime soon.
And then an old-timer finally showed his face—Kirk Douglas!
In an interview with The Hollywood Reporter, he didn’t mince words: “Juno isn’t about family, love, or respect for life—it’s pure feminist propaganda, plain and simple. It’s the triumph of the idea that men, especially fathers, are disposable. I bet the people who made this movie have never been parents!”
Dunn saw this coming.
That old guy’s real clout kicks in during awards season—he always stirs the pot around this time.
What Dunn didn’t expect was Kirk using Juno to take a swing at Natalie Portman—his one weak spot!
Kirk didn’t say everything outright, but in the schmoozy, favor-trading buzz of awards season, he let plenty of reckless comments slip in the industry circle.
“Natalie Portman? She’s got Jewish blood at best—does that make her Jewish? Her grandma’s Gallic! She’s waving the Jewish flag to sneak into our circle—it’s not happening!”
“Listen to that filthy rap she did on the talk show—pure rebellion! It’s a disgrace to the Talmud! She doesn’t celebrate Hanukkah—she’s all about Christmas. She’s cut herself off from the Jewish community!”
“People rave about her Juno performance? Total nonsense! This movie peddles a warped worldview from start to finish—it’s a slap in the face to the right to life! No one but God or a judge can take a life—not even a woman! This is murder talk!”
“Did I mess up?”
Natalie’s back at school now, and she’s clearly heard something. Her voice is soft and shaky over the phone.
Dunn chuckles, “You mean Juno?”
“Yeah, I heard about it. My agent, Hilda, told me. Some big shot in Hollywood’s pissed at me—says I’m a disgrace to Jewish people.”
“What?” Dunn’s half-annoyed, half-amused. “A disgrace? That’s ridiculous. It’s just Kirk Douglas, that old geezer. He’s gunning for me, not you. Focus on school—catch up on all those classes you missed. Don’t worry about Hollywood.”
Natalie’s mood’s still low. “But I shouldn’t have recorded that raunchy rap. It’s a target now.”
Dunn nearly laughs. “Now you see the mistake?”
“Yeah, I should’ve talked to you first.”
“It’s fine—trust me, I’ve got this handled!”
Natalie hesitates. “But… but it’s Kirk Douglas.”
Dunn snorts, “So what?”
“Hilda says he’s, like, the leader of Hollywood’s Jewish crowd. He’s got major pull—especially during awards season.”
Dunn laughs quietly. “Nat, why do I feel like there’s more to this? Are you worried about getting snubbed in awards season?”
Natalie blushes, a little embarrassed. “I read the papers… everyone’s saying such nice things about me, how great I was in Juno. I wasn’t thinking about winning anything, but a nomination? I think my performance deserves it.”
Dunn says calmly, “Don’t worry. With me around, no one’s flipping the table.”
After hanging up, Dunn’s face cools. He thinks for a moment, then dials Catherine Zeta-Jones. Chicago’s shoot is wrapping up—done by mid-month.
“The old guy’s stirring trouble. You know that, right?”
“Yeah,” Catherine’s voice is hushed, like she’s somewhere awkward. “Mr. Walker, about this, I…”
Dunn cuts her off. “I don’t want explanations—you don’t have any to give!”
Catherine bites her lip. “So, we stick to the old plan?”
Dunn grunts a faint “mm-hmm.”
Catherine takes a deep breath, her voice barely a whisper. “Alright, then. Once I’m done with Chicago, I’ll set a time—go to Rachel Weisz’s place and… give you one go. That okay?”
“One’s not enough!”
“Then… I’ll clear an afternoon?”
“For now, sure.”
As the call drops to a dial tone, Catherine sighs softly, then pouts with a huff. “It’s just about fooling around with women—spare me the high-and-mighty excuses. If you’re into my body, just say it. I didn’t say no!”
She’s seen that look in men’s eyes too many times.
Every time Dunn looks at her, there’s this raw, barely-hidden hunger—like he wants to devour her. No wonder her husband, Michael Douglas, gets so twitchy and hostile around him.
“An afternoon? Hmph! I doubt he’s got anything impressive up his sleeve!”
Catherine smirks to herself, but then her phone buzzes with a text from Dunn.
She opens it—and her face goes pale, then flushes red: “Get ready—candles, whip, clamps, nylon rope, vibrator, lube, and whatever else you feel like.”
Catherine nearly bites through her lip. “That jerk!”
She fires back quick: “Lube’s the max—none of that other stuff, no way!”
Chapter 444: Foreign Invaders, United We Stand
The hot run of Monsters, Inc. couldn’t save Michael Eisner from his power crisis.
Disney only had distribution rights for the animated hit, snagging a measly 10% of the profits while Pixar pocketed the lion’s share.
It barely moved the needle for their stock price. The real culprit shaking Disney’s shares? ABC’s downward spiral.
CBS came in swinging with two heavy hitters—Survivor and CSI—and crushed ABC’s Who Wants to Be a Millionaire.
The kicker? Both Survivor and CSI’s production teams pitched to Disney first!
Michael Eisner shot them down hard, claiming they didn’t fit Disney’s “values.” Now, those shows are Sumner Redstone’s aces at Viacom.
Lately, Roy Disney’s been firing shots at the board again, slamming ABC for pitting a “filler” like Millionaire against a juggernaut like CSI.
He even told The New York Times, “If Millionaire’s the reason ABC lost its top spot with viewers, I’ll eat my hat!”
If Millionaire isn’t to blame, then it’s gotta be human error, right?
On January 7th, Michael Eisner struck back, axing ABC Group president Stu Bloomberg fast. The excuse? His taste in shows was “quirky” and “dark,” clashing with Disney’s wholesome vibe.
Crisis averted, power secured!
After a string of setbacks—and two botched firings with Jeffrey Katzenberg and Michael Ovitz—Eisner’s finally wised up. His style’s softened a lot.
He called Stu into his office for a heart-to-heart. First, he thanked him for taking the heat with Millionaire, then assured him the 9-million-USD bonus contract still stood—it’d just shift into a production deal.
A friendly chat did the trick. Stu went back to his office and willingly submitted his resignation to the board.
This smooth firing got Eisner reflecting on his old, sharp-edged, bulldozer ways.
Right now, Disney’s getting hammered by CBS in TV and can’t even muster a decent movie in theaters…
Change is overdue.
Especially with Disney president and COO Robert Iger stepping up, personally overseeing ABC’s operations to breathe some life back into it.
He’s floated poaching David Letterman and his Late Show from CBS lately—a move that’d escalate the ABC-CBS war big time!
Michael Eisner greenlit the headhunting plan!
He’s ready to go toe-to-toe with Viacom!
This time, Eisner’s gotta play it smart, stay humble, and line up more outside allies to take on Viacom’s golden streak.
For movies, the first name that popped into his head? Dunn Walker!
“Band of Brothers blows Six Feet Under out of the water. I’m curious—didn’t Redstone push you to hand it over to Showtime?”
The two sat aboard Dunn’s shiny new Boeing 747, jetting off to New York.
Eisner was headed to check on ABC and field some congressional questions about pirated DVDs; Dunn was off to join the Resident Evil promo blitz.
Eisner’s comment had a whiff of gloating—and maybe some stirring-the-pot vibes.
Dunn stayed cool, sipping his red wine. “He brought it up. I said no. Try this—Merlot, 70-year vintage. You don’t see it on the market much.”
Eisner wasn’t into booze or smokes, smirking. “Turned down Redstone? That old geezer’s not someone to mess with!”
“Not someone to mess with? Didn’t you poke that bear too?”
Dunn shot him an amused look.
They sat across from each other at a round table, looking less like old enemies with a blood feud and more like buddies who go way back.
Eisner’s face hardened, his tone icy. “Redstone’s gone too far—playing dirty and clean at the same time. Disney’s stock’s in the gutter, and he’s the root of it!”
That cleared things up for Dunn.
This guy’s dead set on going all-out against Redstone!
In its past life, Viacom had a brief golden run, but their slugfest with Disney left both bruised and battered.
Disney’s brand value tanked, Viacom’s stock slumped, and they got carved up.
Eisner lost his throne, and Redstone’s media empire faded into history…
As a bystander, Dunn was all for it!
Eisner, Redstone—neither’s a saint!
The messier their fight, the better!
Dunn didn’t mind fanning the flames, leaning in with a sly grin. “Between you and me, I’ve got a little secret.”
“Oh?”
“Comcast’s prez, little Roberts—heh—mentioned he’s thinking of teaming up with me to tank Disney’s stock.”
“What?!”
Eisner’s jaw dropped!
At his level, he knew what that could mean—Comcast might be in cahoots with Viacom.
Dunn pressed on. “Comcast scooped up AT&T’s cable arm. Cable TV’s hit its ceiling—practically a monopoly. They’ve got the pipes but no content. So… Mr. Eisner, you see where Comcast’s headed, right?”
“A hostile takeover of Disney?” Eisner felt a chill, then snorted coldly. “That upstart Comcast thinks they can swallow Disney? Dream on!”
“What if they’ve got backup?”
Dunn kept stirring, his face all mysterious.
Eisner couldn’t fully buy Dunn’s word, but Disney and Viacom’s rivalry was already out in the open—white-hot.
It’d spread from TV to movies!
Right now in Hollywood, it’s not Dunn Pictures squaring off with Disney—it’s Paramount!
The only big-budget flick released alongside Monsters, Inc. was Paramount’s Domestic Disturbance.
Too bad that dud got obliterated by Monsters, Inc..
“Viacom and Disney—only one’s walking away from this!”
Eisner downed a big gulp of wine, his voice resolute.
It was a statement for Dunn too.
Dunn smiled lightly, refilled his glass, and raised his own in a toast. “Honestly, between Viacom and Disney, I’d pick the latter every time!”
Eisner saw that coming, chuckling. “Why’s that?”
Dunn said casually, “Viacom’s all about New York’s business scene. Disney’s born and bred Hollywood! Whatever beef we’ve had before, when outsiders invade, we stand together!”
“Well said—united we stand!”
Eisner, in a rare move, clinked glasses and took another big swig with Dunn.
Dunn grinned. “My girlfriend’s been catching some flak lately. I really appreciate Disney Channel’s fair and neutral take.”
Eisner nodded. “Dunn Pictures hasn’t gone after Disney films for six months now. I’m grateful for that.”
Dunn laughed heartily, topping off Eisner’s glass again.
Eisner waved it off, refusing more. “Dunn, I ran your request by some folks. That batch of cartoons? You can’t touch ‘em. Unless…”
“Unless what?”
“Unless Disney leads and Dunn Pictures plays second fiddle in a joint project.”
Dunn frowned. “Mr. Eisner, that logic’s off. Sure, Disney owns the rights, but across Hollywood, who’s got the chops to revive that dusty, outdated series? In my hands, those old cartoons are gold. In Disney’s, they’re just gems gathering dust!”
Eisner shook his head. “That’s Disney’s foundation—its brand value. You get that, so let’s not argue. Selling the rights? No chance. Not even adaptation rights.”
Dunn’s smile turned a little sly. “Mr. Eisner, you run Disney with an iron fist. You telling me you can’t swing a little thing like this? I’d bet it’s because your seat’s shaky—you don’t wanna touch anything sensitive.”
Eisner wasn’t fazed at being called out, replying coolly, “You should know—if I’m at Disney, you’ve got a slim shot at those cartoons. If I’m out? You’re done for good.”
Dunn’s lip curled up. “Sounds like a real pickle! Roy Disney’s against it, and you’re not exactly on board either.”
“No, no, you’ve got it wrong—I’m not against it. My condition’s joint development! It’s gotta boost Disney’s movie biz so I can answer to the board,” Eisner countered quickly.
Dunn shrugged grandly. “What’s the big deal? Just gotta get Disney’s film side back on its feet, right?”
Eisner’s eyes lit up a bit.
Dunn went on, “For the cartoon adaptations, we can team up—but Dunn Pictures takes the lead! Er, no—Rose Pictures, actually. You know, my feminist-focused outfit. As for Disney’s movie biz… you’ve heard of the hot Chronicles of Narnia, right?”
“What’re you getting at?”
“Narnia’s a Dunn Pictures-Warner Bros. co-production, 50-50 split. It’s killing it at the box office, neck-and-neck with Lord of the Rings. But the Warner partnership… sure, it’s even shares, but they’re calling the shots. Big company privilege, you know? I’m sick of it.”
Eisner’s face suddenly sparked with excitement.
This was a major project!
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe had been out two months and already pulled in over 250 million USD in North America! Tied with The Fellowship of the Ring, it’s the hottest thing going!
A series this big drives insane merchandise sales. Even a 50% stake means hundreds of millions.
Dunn’s really willing to let it go?
Sure enough, Dunn waved a hand, bold as brass. “If we’re partnering up, I’ll show some real sincerity. I’m ready to hand over the rights to the next few Narnia films to Disney!”
Chapter 445: I’m Gonna Be the Top Dog!
Back in the ‘80s, Michael Eisner was Barry Diller’s little sidekick. He helped Diller cook up and roll out the “High Concept” movie theory, blowing Hollywood’s mind and officially kicking off the era of blockbuster cinema with a slick, formulaic approach.
But these past few years? His knack for picking films has gone downhill—fast.
Thanks to him, Disney’s missed out on some goldmines—most famously, The Lord of the Rings!
A while back, Harvey Weinstein came begging with that project, practically on his knees for investment. Eisner shot him down cold.
Then New Line Cinema swooped in, and Harvey, as executive producer, snagged a 5% cut of the global box office. Technically, that cash should’ve gone to Miramax, not his personal pocket.
But Eisner? He didn’t believe in The Lord of the Rings one bit. With a wave of his hand, he agreed to split the profits with Harvey—2.5% for Disney, 2.5% for the Weinstein brothers.
Now, The Fellowship of the Ring is a box office beast, raking in cash and spurring a merchandising boom that rivals Star Wars: The Phantom Menace from a couple years ago and last year’s Spider-Man!
Just that one film’s set to net New Line at least a billion bucks in profit.
Eisner’s kicking himself so hard his guts are probably green.
And now, Disney’s got a shot at The Chronicles of Narnia—a franchise on par with Lord of the Rings. How could he not be pumped?
Even better, Narnia brings a fresh magical world that’s perfect for kids—straight out of their fairy-tale dreams. Go to a magic land, become a savior-hero, then rule as king of a storybook kingdom.
No doubt about it, that’s Disney’s vibe through and through!
Dunn catches the flicker of excitement on Eisner’s face and smirks just a little.
Is he about to hand Disney a golden goose?
Dream on!
Sure, The Chronicles of Narnia is up there with Lord of the Rings in name, but adapting it? Nightmare fuel. All that deep philosophy and religious subtext—it’s a beast to translate into a story that works on screen.
Beyond The Lion, the Witch and the Wardrobe, the sequels tanked hard, turning into CGI trash heaps.
Dunn Pictures will cash in on the first film’s glory, then let Disney pick up the scraps!
“This… I’ll need to take back to the board for discussion.”
The copyrights to that batch of classic animated films are a tangled mess of interests. Even someone like Michael Eisner can’t call the shots solo on this one.
Dunn’s in no rush, giving him a half-smile. “Mr. Eisner, I’m even willing to let go of Narnia’s sequel rights. You’ve gotta see how serious I am about working together, right?”
“Of course!”
Eisner nods eagerly, practically beaming.
“And you?” Dunn leans in. “I need to see Disney’s sincerity.”
“I told you, it’s a big deal—I need…”
Dunn cuts him off with a wave, locking eyes. “I’m not talking about that. I’ve got two enemies—both Disney partners.”
Eisner gets it instantly: Jerry Bruckheimer and Harvey Weinstein!
Dunn says, “Jerry Bruckheimer’s Black Hawk Down—you’ve seen the box office. Forget comparing it to Lord of the Rings—it can’t even touch Resident Evil, a $35 million flick! I’m not kidding—he’s not the Hollywood golden boy producer anymore. He’s washed up!”
Resident Evil pulled $19.8 million its opening week; Black Hawk Down limped in at $14.8 million.
After Pearl Harbor, Jerry’s whiffed on another big-budget swing!
Eisner nods. “True. We’ve talked it over internally. If Black Hawk Down doesn’t crack $100 million in North America, we’re scrapping Disney’s first-look deal with Jerry Bruckheimer Films.”
Dunn nods, satisfied, then smiles. “And the other one?”
“That’s trickier!” Eisner glances at him, puzzled. “From what I know, you and Harvey… there’s no real beef. Whatever tension there was came from Disney and Dunn Pictures butting heads. Now that we’ve patched things up, do you really need to…”
Dunn’s face hardens. “It’s not about beef—it’s about principle!”
“Principle?”
“Mr. Eisner, don’t tell me you don’t know. Harvey Weinstein’s Hollywood’s biggest casting couch creep!”
Eisner almost cracks up awkwardly.
Harvey Weinstein, the biggest casting couch guy?
Give me a break!
Everyone in Hollywood knows Dunn Walker is the real king of cashing in on unspoken rules!
Harvey’s old, ugly, fat, and a total schlub—which actress would even go near him willingly?
Dunn’s a different story—young, loaded, still single. Actresses throw themselves at him left and right!
Dunn catches Eisner’s teasing look and flushes, coughing to cover it. “I’m not talking about mutual deals—every industry’s got that kind of under-the-table stuff; you can’t stop it. I mean Harvey Weinstein using his power and position to force himself on people!”
Eisner’s face turns serious. “Dunn, you can’t toss around claims like that without proof.”
Dunn sneers. “Proof? Dig around—you’ll see! Forget actresses—even Miramax’s own female staff, I’d bet plenty have been his victims!”
Eisner’s heard whispers about this before. With Harvey’s talent, he’d have climbed higher internally ages ago if not for this baggage. They’ve kept him boxed in at Miramax to protect Disney’s image.
“This needs to be handled carefully!”
Eisner’s expression darkens. Disney’s in rough waters right now—he’s terrified Dunn’s hotheadedness will spark a full-on war with Harvey.
Dunn smirks dismissively. “I know how to play it. If I didn’t, I’d have already leaked it to the press! Internal scandals stay internal—I get it.”
Eisner exhales, relieved. “Good.”
“But this guy? I’m taking him down no matter what!” Dunn snorts. “A scumbag like him poisons Hollywood’s whole ecosystem! With feminist vibes on the rise, if this blows up, it’ll spiral out of control.”
In his past life, actresses banded together and torched Harvey Weinstein’s rep—but it also trashed Hollywood’s existing power structure, hitting movie companies’ bottom lines hard.
Now that Dunn’s in charge—and a big winner of the “unspoken rules” game—he’s not about to let some wild feminist wave crash over Hollywood!
He set up Rose Pictures, sure, playing to the feminist crowd on the surface.
But really? He’s aiming to control Hollywood’s feminist tide—keep it in his grip and stop it from going off the rails!
If something like the “Me Too” or “Time’s Up” movements from his past life erupted here, that kind of indiscriminate fallout could easily drag someone with Dunn’s personal life down too.
The only way he stays on top? Become the big brother leading Hollywood’s feminist charge—holding the moral high ground forever.
Eisner, no clairvoyant, can’t read Dunn’s mind. He just thinks the kid’s all over the place—reckless!
Scared of feminism rising, yet starting Rose Pictures?
Isn’t that asking for trouble?
“Two years—no moves against him!”
Eisner mulls it over and sets a boundary.
In his mind, two years is enough to steady Disney’s internal chaos.
Plus, by then, The Lord of the Rings trilogy will be done, Disney will have cashed out, and Harvey won’t matter as much.
He’s always been wary of a guy like Harvey.
Why’d he refuse to fund Lord of the Rings? If it’d come from Disney’s production team, he might’ve said yes—but Harvey Weinstein? No way!
The guy’s rep is toxic!
He’s fine slumming it in the indie film world—that scene’s already deep and dirty. But mainstream blockbusters? That’s a different game—everything’s out in the open, and brand rep is king.
If Harvey stuck his paws into big commercial films and a scandal broke, Disney wouldn’t survive the hit to its image.
Dunn raises an eyebrow. “And after two years?”
Eisner says coolly, “If he hasn’t cleaned up his act in two years, Disney won’t keep shielding him with our brand at risk.”
“Two years…” Dunn narrows his eyes, thinking it over. He remembers George Paxton’s team digging into sports scandals—progress is solid. He smiles. “Two years! Deal!”
Negotiation’s all about give and take.
Both step back, both get something—Eisner’s pleased with Dunn’s vibe. Half-joking, he adds, “Oh, Natalie’s been hitting some bumps lately. Need a hand? Honestly, I think her Juno performance could make waves in awards season.”
Dunn scoffs, “Not yet! Just some has-been rounding up other has-beens—small-time noise.”
“That’s Kirk Douglas we’re talking about!”
“Doesn’t matter!”
Dunn’s brimming with confidence. “Oscar votes come down to who’s got more friends, who’s got more sway. Let’s see what he’s got!”
Eisner’s so stunned he’s speechless.
This Dunn guy—way too cocky, right?
When it comes to Oscar clout, even Eisner wouldn’t claim to outmatch Kirk Douglas. Where’s Dunn getting this swagger?
He doesn’t know Dunn’s ace in the hole.
In 2001, the year’s box office champ was Dunn’s Never Sinking, raking in $1.01 billion worldwide.
Thanks to the shades system’s bonus trigger, Dunn’s earned a one-time “Award Swap” skill!
Talk about overpowered!
