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🕑 Added 2025-07-27 17:21:52 +0000 UTCChapter 362: Divine Assist
In its third week of release, theaters across the U.S. collectively ramped up screenings of The Unsinking, jumping from 3,075 locations to 3,645!
That kind of scale even outstripped Universal Pictures’ The Mummy Returns at 3,553 theaters, though it still fell just shy of DreamWorks Animation’s Shrek, which hit an unprecedented 3,715 screens at once!
Of course, this also tied into the past couple of years—economic downturns had sparked a boom in entertainment, adding 700 new theaters to the mix.
Meanwhile, May’s other big commercial flick, Pearl Harbor, saw its theater count shrink dramatically—from 3,214 down to 1,589. Cut in half, just like that.
The box office feedback was a total one-sided slaughter.
In its third week, The Unsinking raked in $90.35 million, steamrolling its way to the top of the weekly charts!
Forget Pearl Harbor, which had long been drowned in backlash. Even Sony’s new release Heartbreakers and MGM’s What’s the Worst That Could Happen? couldn’t find room to breathe under The Unsinking’s crushing dominance.
By June, the movie market felt like a solo stage for The Unsinking!
As of June 11, its North American box office had soared to $213.5 million!
It blew past The Mummy Returns’ $180 million haul, making it the top-grossing film in North America for the year so far!
And the ride wasn’t over yet.
The Unsinking officially hit theaters in the UK, kicking off its overseas journey with a bang.
The summer movie season these past few years had been stacked with blockbusters.
No doubt about it—The Unsinking was the most explosive hit of this summer!
Week four rolled in, and The Unsinking kept tearing up the North American box office.
Monday: $5.82 million. Tuesday: $4.76 million. Wednesday: $4.38 million. Thursday: $4.51 million. Just four weekdays, and it had already pocketed $19.53 million!
By June 15, with the weekend kicking off, The Unsinking’s North American total was on track to smash through the $300 million mark!
That kind of news could set Hollywood on fire.
If The Unsinking really did break $300 million in North America, it’d mean the film could join the ranks of Titanic, Star Wars: Episode I – The Phantom Menace, and Spider-Man—a bona fide box office legend!
Pearl Harbor’s boasts of a $1 billion haul? A joke.
But The Unsinking? It actually had a shot!
That day, though, the Hollywood bombshell wasn’t about The Unsinking’s box office streak. It was Disney dropping a massive announcement…
Disney revealed they’d snagged Fox Family Worldwide—a joint venture owned by News Corp and Saban Entertainment—for $5.3 billion, including $3 billion in cash plus taking on a chunk of debt!
Fox Family’s “Fox Family Channel” had been running for 20 years, mostly kids’ programming. Now folded into Disney, it’d be rebranded as the “AB Family Channel,” with some assets merging into the “Disney Kids Channel.”
Overnight, Disney would gain Fox Family’s 81 million U.S. subscribers, 10 million in Latin America, and 24 million households in Europe—building a massive family cable network. Paired with AB Broadcasting’s TV assets, they’d cover 97% of the U.S. TV market.
News Corp and Saban Entertainment both confirmed the deal.
This was straight-up good news!
By the end of the trading day, Disney’s stock shot up 8%!
Michael Eisner was back—bold, brash, and ready to roll!
…
“Boss, this really isn’t my fault. Pearl Harbor was greenlit back when Joe Roth was still in charge. I took over, didn’t know the ropes, and yeah, I got swayed by Jerry Bruckheimer’s bad calls.”
Richard Cook, head of Disney’s film division, stood there with a mopey look, groveling to Michael Eisner.
With one slick deal, Michael Eisner had steadied Disney’s stock and proved to the world he was still the king of Hollywood, calling the shots at Disney like it was nothing!
But internally, he knew big changes were overdue. If Disney’s movies didn’t get a serious overhaul, all this was just slapping a Band-Aid on a broken leg.
Staring at Richard Cook, who stood respectfully by the desk, Michael Eisner snorted. “One movie? How much could that really shake the stock? It’s the ‘fraud scandal’! That marketing plan you signed off on was a complete disaster!”
Richard Cook whined, “Boss, I swear it’s not on me—it’s all Jerry Bruckheimer! You know how it is with our big commercial films—he’s the go-to guy. He’s got a lot of sway, and the past few years, his track record was solid. People listened to him.”
Michael Eisner wasn’t buying it, but Jerry Bruckheimer—that Hollywood heavyweight producer—had been rubbing him the wrong way too. “Jerry Bruckheimer… how good is he, really?”
“Uh…”
Richard Cook shot him a cautious glance, eyes darting. “Last year, his Gone in 60 Seconds hit theaters the same time as Spider-Man. Box office wasn’t great, but it did okay in DVD sales—no loss there. Then his next two, Coyote Ugly and Pearl Harbor? Total flops.”
Michael Eisner’s eyes narrowed. “Two flops in a row?”
In Hollywood, the rule’s simple: two straight failures, and even top-tier producers, directors, or actors tumble off their pedestal. Lesser names? They might just get forgotten entirely.
Even a legend like Francis Coppola had slipped to the sidelines after a string of lukewarm box office results in the early ‘90s.
Richard Cook hesitated. “Coyote Ugly wasn’t really a big commercial play—more of a female-led thing. One flop with Pearl Harbor doesn’t totally trash his cred.”
Right now, Disney had a “first-look” deal with Jerry Bruckheimer’s production company.
Disney’s big-budget films went to Bruckheimer first; if he had a hot idea or project, Disney got dibs.
It was a double-edged sword.
If Bruckheimer stayed the unstoppable force he’d been in commercial cinema, Disney could rest easy. But if he was washed up—if Hollywood moved on—that deal would turn into a shackle.
It’d have to go. Cut ties completely.
Michael Eisner wasn’t a movie expert. He frowned. “What’s your take?”
Richard Cook said, “Right now, Jerry’s working with Columbia Pictures on another war flick based on real events—Black Hawk Down. Word is, it’s got a $100 million budget.”
“Another war movie?” Michael Eisner’s lip curled, his tone dripping with sarcasm.
Richard Cook jumped in quick. “It’s slated for January next year. We could use its box office to reassess what he’s got left in the tank.”
Michael Eisner gave a faint “hmm,” never once mentioning director Michael Bay.
To the public, Michael Bay was the big-shot commercial director—way more famous than Bruckheimer!
But insiders knew the truth: Bay’s ‘90s action flicks—and even Pearl Harbor—were pure Bruckheimer style. Bay was just the hired gun.
“What about that animated one?”
“Atlantis: The Lost Empire?” Richard Cook paused, lowering his voice. “Boss, Mr. Disney’s side…”
“Damn it!”
Michael Eisner snapped, eyes blazing as he let out a full-on rant.
He got what Richard Cook was hinting at. Roy Disney had been stirring the pot lately, challenging him in board meetings.
Roy ran Disney Animation. If Atlantis tanked, it’d dent his clout for sure.
On the surface, it’d look like Roy screwed up—less ammo to come after Michael Eisner.
But was it that simple?
Roy was just a semi-retired old-timer. Michael Eisner was the CEO!
A retired guy could mess up. The guy in charge? He wasn’t allowed to.
It wasn’t even a fair fight.
Plus, back in the day, Roy had brought in Jeffrey Katzenberg to revive Disney Animation. It worked—until Eisner’s personal beef got Katzenberg booted out.
That was his biggest weak spot.
Michael Eisner’s gaze on Richard Cook turned icy. This guy’s vision was too small— not cut out to be a trusted top exec. He waved him off. “Pearl Harbor flopped. The next one better win it back!”
Richard Cook nodded fast, looking guilty.
Michael Eisner snorted, a bitter pang hitting him. How had Disney’s movies fallen this far?
Ugh.
He shook his head, switching topics. “You hear about Dunn?”
“Yeah!” Richard Cook grinned wide, perking up. “Heh, that kid really thought he was some finance whiz. Made a bundle last year, didn’t know when to quit—now look! Word is he’s down at least a billion!”
Michael Eisner waved a hand. “I’ve already tipped off the TV side—they’ll pump up the coverage. You handle the PR push too. If our movies can’t compete, we’ll hit him where it hurts!”
“Got it! Got it! Heh!”
Richard Cook rubbed his hands together, smirking sleazily.
…
That night, Dunn caught AB Television looping the story of his stock market losses. The finance reports that followed went all in, hyping it up.
Dunn watched, nearly cracking up.
Well played, Michael Eisner!
A divine assist!
Chapter 363: Not Looking Good
Disney snapping up the Fox Family Channel sent some shockwaves through Hollywood.
But across the whole U.S.? Barely a blip.
The real nationwide headline? Dunn.
Only this time, it wasn’t the usual “godlike” Dunn the news had built up over the years. Nope—this was a full-on fall from grace!
It started with a few whispers in small Wall Street rags, but by June, the chatter was everywhere. Even the heavy-hitting Wall Street Journal dropped a bombshell headline: “Stock God Crashes: Dunn Walker’s Short Bets Lose $8.7 Billion.”
CNN, Fox, NBC—they all piled on. Even ABC, which usually couldn’t care less about finance, went all out with wall-to-wall coverage!
Bottom line: this summer, the “miracle man” Dunn wasn’t so miraculous anymore.
Dunn? He was loving it. This was exactly what he wanted.
A little fame? Who cares?
Making bank—that’s what counts!
Last year, Dunn went big shorting NASDAQ, and tech companies took a collective bath. The SEC clamped down hard on Dunn Capital’s financial moves after that, tying their hands.
Another easy shorting spree like last year? Not happening.
But now? Things were looking up!
After six months of shorting NASDAQ and the NYSE—and taking a brutal hit—media outlets were predicting Dunn Capital’s fortune had shrunk by at least 30%!
The second that narrative hit, the regulatory heat on Dunn Capital eased up.
Scott Swift even called Dunn, buzzing with excitement. The SEC had just greenlit them for normal trading in the financial markets again.
Total freedom!
Dunn was brimming with confidence. Every time he thought about the market shakeup coming in a few months, a sly, almost creepy grin crept across his face.
Yeah, they’d eaten a big loss, but Dunn Capital still had over $2.2 billion in cash flow ready to roll!
Back then, shorting rules in the U.S. stock market were wide open—no limits.
Ten-times leverage, twenty-times, even a hundred-times? All doable!
A hundred-times leverage was too wild for Dunn—too risky. One wrong move, even with his foresight, could wipe him out.
But twenty-times leverage? That was manageable.
With $2.2 billion and a twenty-times leverage short, he could single-handedly move over $40 billion in the market…
When the “9/11 attacks” hit, even if stocks only dropped 10% on average, that’s a $4 billion profit!
Scary just thinking about it!
“Nah, gotta keep it low-key. Low-key’s the move!”
Dunn was getting a little spooked. Too much money could burn a hole in your pocket.
Especially with the movie market lately—Never Sinking was killing it at the box office, and Mr. & Mrs. Smith was set to hit North America the next weekend, June 22nd.
To dodge any jealous eyes, he needed to lay low for a bit!
Of course, Dunn’s tumble from the pedestal wasn’t the only big news rocking the country. The other bombshell? Jack Welch officially stepping down as chairman and CEO of General Electric!
Dunn’s second meet-up with Jack Welch happened at Apple.
Welch, a legend in manufacturing, was in Silicon Valley for a seminar. Afterward, Jobs invited him to Apple to check out his latest brainchild—the iPod music player.
It wasn’t some top-secret thing. The design was done, and they were just running final internal tests.
Barring any surprises, it’d hit the market in October.
Welch had launched tons of iconic hardware in his day. One glance at the iPod, and he slapped Dunn’s shoulder like he’d cracked a code. “Now I get why you went all-in on Apple stock no matter the cost. This thing’s gonna boost their stock by at least 20%!”
Dunn smirked inwardly. Twenty percent? That’s nothing!
But on the outside, he kept it humble. “Mr. Welch, I didn’t invest in Apple because I knew they’d churn out something this good.”
“Oh?” Welch raised an eyebrow. “Steve, is it because of you?”
Jobs shook his head. “Yes and no!”
Welch’s brow furrowed. “What’s that mean?”
Jobs gave a wry smile. “It’s because of Pixar!”
Welch burst out laughing, pointing at Dunn with a mix of amusement and disbelief. “You’ve got some serious focus, huh.”
Dunn’s mind clicked—there it was again, that vibe he’d picked up before.
Last time, at Redstone’s birthday bash, he’d caught some odd comments from both Conrad Black and Jack Welch.
Both of them, without missing a beat, took shots at Murdoch and Redstone—those two old geezers.
Sure, it’s a quick way to bond in a conversation.
But these guys… on the surface, they were all buddies.
So why were they so sure Dunn wouldn’t snitch?
Dunn wouldn’t, obviously, but how did they know that?
“Mr. Welch, can I talk to you alone for a sec? I’ve got a couple questions,” Dunn blurted out, curiosity getting the better of him.
Welch gave him a long look and chuckled. “Young guys, huh? Always so impatient.”
Jobs caught the drift and jumped in. “Use my office. I’ve got a meeting anyway.”
…
Jobs’ office? Straight-up paradise.
No exaggeration—birds chirping, flowers blooming!
A massive floor-to-ceiling window opened up to Apple’s orchard outside, dotted with weird, funky trees Jobs had designed himself. It had this sleek, minimalist, almost sci-fi Japanese vibe.
Total artist vibes!
Dunn was Apple’s biggest shareholder now—over 13.3%—and Dunn Capital was still pouring cash in, scooping up more.
So, half-host, Dunn played the gracious guide, leading Welch to a pair of bamboo chairs by the window. With birds singing overhead and the soothing view outside, it was pure chill.
“Now this is how you set things up right!” Dunn couldn’t help but think.
Silicon Valley, the hub of cutting-edge tech, had the best office vibes in the world—perfect for sparking inspiration in designers and engineers.
Hollywood, though? Stuffy and old-school. They hated splashing cash on fancy offices.
But Hollywood needed creativity way more than Silicon Valley did!
Good thing Dunn Films’ new HQ campus was under construction. First phase should be ready by next August.
On top of the original “Dunn Tower” and “Marvel Tower,” the latest plans added a multi-purpose auditorium, staff cafeteria, fitness center, “Rose Tower,” and a few other buildings.
“He’s a design genius!” Welch suddenly piped up, clearly vibing with Jobs’ office setup too.
Dunn grinned. “Well, my new HQ’s design isn’t gonna lose to this place.”
Welch smiled cryptically. “And that’s exactly why.”
“Why what?”
“The answer to what’s bugging you.”
Dunn’s heart skipped a beat. He stared at Welch, those cloudy eyes seeming to see right through him.
Of course, it was just top-tier people-reading skills.
He hadn’t nailed Apple’s future, that’s for sure.
Dunn mulled it over, replaying their last chat, then tested the waters. “Is it… my ambition?”
“Sharp kid!” Welch flashed a thumbs-up.
Dunn shook his head. He’d considered that, but it didn’t add up. “I won’t deny it, but… Mr. Welch, real talk—last time at Redstone’s party, I ran into this weird big shot who straight-up trashed Murdoch in front of me. Even took some digs at Redstone.”
Welch nodded. “Ambition shapes your scope. Dunn, in just a few years, you’ve shot up fast, building a new power in Hollywood. Anyone paying attention—those big players—can’t miss it.”
“No way!” Dunn’s face darkened. “I think I’m pretty guarded. No one’s reading my mind that easily, right?”
Welch paused, then cracked up. “Dunn, you’ve got it wrong!”
“Huh?”
“No one’s figuring you out just by looking at you—not even a shrink could pull that off. It’s simpler than that. It’s your business moves, your strategy.”
Dunn went quiet, so Welch kept going. “Dunn Films started as just a movie outfit, so the early days were smooth sailing. But then your setup shifted—TV, animation, toys, online… Your ambition’s out in the open. You’re not happy with a little film company. You’re gunning for a media empire!”
Dunn started connecting the dots. “So… down the road, Dunn Films is bound to butt heads with News Corp and Viacom over interests. We’ve got shared enemies?”
Welch smirked. “Enemies is a stretch. Let’s just say I’m not sold on Murdoch and Redstone, those old fossils.”
Dunn let out a breath, finally getting it.
So that’s why Conrad Black dropped those weird comments last time. He’d clocked Dunn’s fast-growing empire and wanted to buddy up early—maybe team up against News Corp later.
But then Dunn’s stomach dropped, his face shifting.
If Black saw it, and Welch saw it, how could a cagey vet like Sumner Redstone miss it?
Dunn Films could take on Disney today. Tomorrow? Viacom could be next!
Especially with TA Network blowing up. Six Feet Under had just premiered—only two episodes in, but it was already the most gripping show in America.
Besides HBO, here was another rival for Showtime.
Redstone…
Would he just let Dunn keep growing?
Things weren’t looking so rosy anymore!
Chapter 364: I Can Handle Him!
The sudden shift in Dunn’s expression didn’t escape Jack Welch’s sharp eyes. He chuckled, “Scared?”
“Dunn Films has a lot of business segments, but its foundation’s shaky. If a giant decides to push us down, I’m afraid…”
Dunn shook his head, his face darkening.
Jack Welch nodded. “Exactly. That’s why your business strategy and growth philosophy have some serious flaws.”
“What?”
Dunn’s jaw dropped, totally caught off guard.
He knew he wasn’t a pro at this stuff, so he left company management to the experts. Meanwhile, he leaned on his knack for seeing the future to steer the big-picture strategy.
But Jack Welch hitting him with this critique right out of the gate? It was like a bucket of cold water to the face.
Flawed philosophy!
That’s a hefty accusation.
“No way, really?” Dunn said, skepticism written all over him.
Sure, Jack Welch was a legendary manager—maybe even the best in the world. But his expertise was in manufacturing. This was Hollywood, the entertainment biz—totally different territory!
Jack Welch seemed to read his mind and shook his head. “I don’t know much about Hollywood, that’s true. But business is business. There are universal principles of management and strategy. Dunn, you’re a great director, but you don’t get commerce.”
Dunn’s brows knitted tight.
Jack Welch didn’t pull punches. “In an oligopoly market, there are only two ways to break the balance: buy out one of the big players, or build a new giant before the old ones even notice.”
Dunn mulled it over, nodding thoughtfully—then shook his head. “That’s impossible. Hollywood’s different. Even if I had the cash, without the right connections, status, and influence, buying out a titan like Universal Pictures? No chance.”
Jack Welch shook his head. “That’s just surface-level stuff. What matters is raw strength. But fine, that’s not the point. If buying’s off the table, there’s still the second option.”
Dunn cracked a smile. “Mr. Welch, you’re not saying Dunn Films is growing too slow, are you?”
Jack Welch’s face stayed dead serious—no hint of a joke. “Isn’t it?”
Dunn hadn’t expected this kind of pushback. He kept his tone even. “Dunn Films started in 1997. It’s been less than four years, and our assets are already valued over $2.5 billion. That’s slow?”
Even DreamWorks, founded by three industry giants with Microsoft bigwig Paul Allen’s cash, had taken seven years to get where it was—nothing crazy.
Dunn Films was a legit success story worth bragging about!
Jack Welch let out a dry laugh, shaking his head. “For your ambitions, yeah, it’s slow!”
Dunn respected Jack Welch, but now he was getting a little ticked off. “Okay, Mr. Welch, what’s not slow then? Look at all of Hollywood—any movie company out there growing as fast as Dunn Films?”
Jack Welch locked eyes with him, squinting. “Is Hollywood your only ambition?”
“Well…”
Dunn clammed up.
Hollywood, at its core, was the entertainment circle. But gaming, publishing, news, interactive media—even a big chunk of the TV industry—fell under the broader media umbrella, not Hollywood itself.
Jack Welch spoke earnestly. “Kid, times change fast—you know that. Every industry’s consolidating resources, and the rich-get-richer effect is only getting stronger. You’ve got talent and plenty of money. If I were in your shoes, I’d make the empire way bigger!”
“Oh? Got an example?” Dunn softened, genuinely curious now.
Jack Welch smiled. “I don’t know Hollywood’s ins and outs. You say buying Universal takes connections and clout—fine, scratch that for now. Look elsewhere. Take General Electric’s NBC network, for instance.”
“NBC?”
Dunn’s eyebrow shot up. As one of America’s big three public TV networks, NBC was a TV titan, holding nearly 30% of the market!
Jack Welch nodded. “Back in the day, I pushed hard to buy NBC—mainly to advertise GE’s products and boost TV sales. But times changed. Media’s consolidating. Giants like Disney, Time Warner, and Viacom popped up, and NBC under GE? It’s turning into dead weight.”
Dunn nodded.
NBC’s market share had been slipping lately. Besides its top rivals, ABC and CBS, there was the rising Fox network too.
In the TV game, GE couldn’t match the media giants’ resources to prop up NBC.
“So years ago, I was already thinking of unloading NBC,” Welch continued. “Antitrust rules mean Disney with ABC, News Corp with Fox, Time Warner with CNN, and Viacom with CBS can’t touch it.”
He gave Dunn a deep look. “This is the era’s call—and your shot!”
Dunn’s eyes widened. “Mr. Welch, you’re not messing with me, right? NBC might be struggling, but it’s got tons of assets and strength—worth at least $15 billion! You think I can swallow that?”
Jack Welch laughed, half-exasperated. “Dunn, do you even get capital mergers?”
Dunn frowned. “Even if I hadn’t sunk my money into stocks and used Dunn Films as collateral, I’d scrape together maybe $5 billion tops. Merge with NBC? I’d get 25% of the shares? That’s a pipe dream!”
“Holding company, man! Pull in Wall Street cash! Set up a parent company over Dunn Films with your $5 billion—you take 51%, Wall Street gets 49%. Boom, you’ve got $10 billion to play with. Not happy with that split? Add another holding layer or tweak the voting rights. There’s a million ways to keep control!”
Jack Welch’s pitch had Dunn rolling his eyes.
This was basic company control stuff—Dunn knew it. But it meant giving Wall Street a cut!
Handing out money? Dunn hated that!
He’d busted his butt making movies and building his company, just to let a bunch of Wall Street leeches cash in? Maybe it was a principle thing, but he couldn’t stomach it.
Dunn shook his head. “I don’t like that approach. Dunn Films has unlimited potential—I’m not leveraging its current value for funding.”
Jack Welch, pure businessman through and through, didn’t get it. His brows furrowed. “This is the fastest way to win! Merge Dunn Films with NBC, and with that platform, you wouldn’t have to sweat Viacom or Disney.”
Dunn kept it cool. “Conservatively, with the industries Dunn Films is in now, if it grows right, it’s worth $50 billion down the line! But if I give up big chunks of equity now, even if we go public later, how much would I really own? You’re right, Mr. Welch—my ambitions are huge!”
Jack Welch went quiet for a long stretch, then sighed. “Kid, founders caring about equity is good—and bad. Building a business is a race against time. The more resources and cash you’ve got early, the faster you go.”
Dunn shook his head, firm. “I’m not short on money, and in Hollywood, I’ve got plenty of resources. I’m confident I can grow from here!”
Jack Welch sighed helplessly. “I told you—if you don’t rise up as a new giant before the oligarchs catch on, you’ll just get carved up. Your plan’s solid, but it’s slow torture. The longer it drags, the worse it hurts. Better to cut the mess quick.”
Dunn grinned. “Mr. Welch, I agree with everything you’re saying. Honestly, with my limited grasp of business, it all lines up with your take. But I’m Dunn Walker, right? Dunn Films isn’t a Hollywood oligarch, and the big dogs have been onto me for a while—yet I’m still thriving, aren’t I?”
Jack Welch, an outsider, didn’t know Hollywood’s inner workings—like the “package deal” investments.
Even DreamWorks was getting squeezed to near bankruptcy, but Dunn Films, with even more momentum, kept climbing. This year’s The Unsinking was set to dominate the summer box office, no question.
“Movies are your turf—I won’t argue there,” Jack Welch said, pausing to think. “But TV’s different. Especially cable networks—that’s not Hollywood’s game!”
True enough, cable TV was a world apart from Hollywood. ABC’s HQ was in New York, CBS’s in Denver, CNN’s in New York too.
Beyond supplying some content, Hollywood’s operations and networks didn’t overlap much with that scene.
Welch’s words hit Dunn right where it counted. Sumner Redstone, lurking in the background, was always a major wildcard!
“With the TV networks, I trust Mr. Redstone’s generosity and vision.”
Dunn said it, but even he didn’t buy it.
Jack Welch cracked a wry smile. “Dunn, I ran GE for 20 years and learned one key lesson: keep the reins in your own hands! You know Sumner Redstone? At 58, he survived a fire that nearly killed him. After that, his career took off—15 years later, he’d built Viacom into a world-class media empire. A guy like that—you think you can read him? I sure can’t.”
Dunn squinted, gritting his teeth. “Everyone’s got a weakness. Age and slowness? That’s his biggest! Hmph—I can handle him!”
