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🕑 Added 2025-06-15 16:00:58 +0000 UTCChapter 262: Life’s a Stage, All About Acting
The story of A Beautiful Mind is touching, inspiring, and uplifting—it has a power that pierces straight through the heart. The protagonist, John Nash, spends decades tirelessly pushing forward, defying everyone’s doubts. Through sheer willpower, he overcomes his illness and even wins a Nobel Prize. His wife, Alicia Nash, stands by him quietly for years, day in and day out, helping him heal in a deeply moving love story.
In reality, though, things weren’t so rosy. During John Nash’s years of illness, Alicia actually considered divorce more than once. She’d lose her temper often, and it was only her role as his guardian and societal pressure that kept her by his side. On top of that, she had an affair and eventually did divorce him. The real story? Far from beautiful—it’s kind of brutal.
But Dunn’s making a movie here, a work of art meant to inspire and move the American public. It’s a feel-good romance, so naturally, the plot’s been polished to perfection with a happy ending for all.
Russell Crowe starred in DreamWorks’ Gladiator earlier this year, a film that got rave reviews. Under the guidance of famed British director Ridley Scott, his acting skills took a massive leap forward. While filming A Beautiful Mind, his stellar performance even earned praise from the real John Nash, who visited the set. Though, to be fair, Crowe’s version of Nash carries way more dignity than the real man did during his breakdowns.
Then there’s Nicole Kidman, playing Alicia Nash. She’s the epitome of beauty—not just stunning on the outside, but radiating a kind of inner grace.
“Scene 43, Take 13—action!”
With Director Dunn’s shout, the next performance kicked off.
“So… how big do you think the universe is?”
On a bench at MIT’s campus, Nicole Kidman as “Alicia” sat beside Russell Crowe’s “John Nash.” She turned her head, showing off a charming, radiant profile, her eyes sparkling with curiosity.
Russell Crowe’s face stiffened, his expression a little wooden. He turned to glance at Nicole’s beaming smile and said flatly, “Infinite.”
Nicole blinked, tilting her head. “How do you know?”
Crowe replied stiffly, “I know because all the data says so.”
“But… there’s no proof, right?” Nicole smiled, pressing him gently.
Crowe paused, caught off guard, then nodded awkwardly. “Right.”
Nicole’s grin widened. “So you’ve never seen it, have you?”
Crowe nodded mechanically again. “Right.”
A sly glint flashed across Nicole’s face. “Then how can you be sure?”
Crowe frowned slightly, shaking his head. “I’m not sure. I just believe.”
“Hmm, I guess it’s like love,” Nicole said, giving him a deep, meaningful look—half to herself, half loaded with intent. “The part you don’t know? That’s whether I’d marry you.”
Crowe’s expression shifted, and as he turned, he met Nicole’s intense, passionate gaze…
“Perfect! Nicole, that look was incredible—this take’s a wrap!” Dunn jumped up, shouting with excitement and clapping first. The whole crew followed, applauding their brilliant performance.
It’s not a complicated scene, but it’s a key turning point—where the leads’ budding romance heads toward marriage. It’s a bridge in the film’s storyline, connecting what came before to what’s next. Crowe’s performance was straightforward; with his character’s mental state already fraying, big emotional swings weren’t an option. The spotlight was on Nicole.
This was their 13th take. The first 12 didn’t cut it for Dunn—especially the close-up of Nicole’s eyes at the end. They lacked that raw, emotional punch and felt too rehearsed. For anyone else, it might’ve been fine, but Dunn’s aiming for an Oscar with this role for Nicole. Every detail, especially a heart-grabbing close-up like that, had to be flawless.
Thankfully, take 13 nailed it.
Nicole soaked in Dunn’s praise and the crew’s encouragement, feeling a little stirred up. This was her second time working with him. The first, My Big Fat Greek Wedding, earned her critical acclaim and box office success, shaking off her old “box office poison” label. Now, A Beautiful Mind was giving her another great memory. The set’s positive, driven vibe let every actor dive fully into their roles, almost like they were in their own world.
Of course, Dunn deserved most of the credit. Thinking of him made her feelings complicated. Their relationship started as a business deal—he’d climbed into her bed for mutual gain. But after two years of sharing that bed, it had grown beyond just benefits.
Dunn strolled over with a grin. “Nicole, if you can keep this up, I’d bet my life on it—you’re walking away with that Oscar for Best Actress!”
Nicole smiled and shook her head. As Russell Crowe tactfully gave them some space, she lowered her voice. “That last look—want to know how I pulled it off?”
Dunn shrugged casually. “Great acting, obviously!”
Nicole locked eyes with him, dead serious. “In that moment, all I could think about was you.”
Dunn’s heart skipped a beat. Flustered, he laughed it off. “Nicole, you’re such a kidder!”
Dunn’s speech at the feminist forum caused a massive stir! It didn’t just tank sales of “Barbie dolls” and “Disney princess” toys—it also earned him unprecedented goodwill. Especially now, with the A Beautiful Mind crew filming in Cambridge, part of the greater Boston area—a hotspot for the feminist movement. Every day, media reps and feminist activists gathered outside the set, hoping to snag an interview with Dunn and hear more of his thoughts on women’s rights.
His influence was huge. The Barbie boycott was in full swing, giving a major boost to feminist causes. For half a century, Barbie dolls had warped women’s values and sense of beauty, leaving a terrible mark.
In the director’s lounge, Dunn got an unexpected visitor: a team of five from Time magazine. Time is a flagship publication under Warner Bros.’ parent company, Time Warner. Thanks to Dunn’s blockbuster feminist speech and some strings pulled through Warner Bros., they’d scored this exclusive interview. It’s a safe bet he’ll land on the cover of Time for the fourth time.
“Sorry, I’ve only got half an hour,” Dunn said. He still had filming to handle, and even with a big name like Time, he wasn’t bending over backwards.
“No problem, half an hour’s plenty! Oh, I’m Maria, by the way—like you, I’m a feminist too,” the reporter said, kicking things off. Her sharp skills shone through right away, breaking the ice and steering the conversation straight to feminism.
Dunn wasn’t outmatched. He grinned. “Nice to meet you, Maria. You look great today—reminds me of this girl group I’m really into right now, Destiny’s Child.”
Destiny’s Child was a hot R&B act, led by Beyoncé Knowles. They’d had their share of drama and lineup changes, but that wasn’t the point. Dunn liked that their members embodied a “healthy,” “mature,” “strong” vibe—nothing like the frail, princess-y Barbie look. Plus, his films often got flak for not featuring enough Black actors, and Destiny’s Child was mostly women of color. Smart move.
Maria’s lips curved into a sly smile. “If I remember right, Destiny’s Child started as a Disney kids’ group.”
Time lived up to its rep—her subtle jab could’ve sparked a war. But Dunn stayed cool. “I’ve said before, Disney’s old animated films had some serious value missteps that weren’t great for young girls’ mental health. That’s the past, though. Now, Disney’s keeping up with the times—think Mulan or Tarzan. They’re pushing independence and freedom for girls.”
Michael Eisner’s recent olive branches signaled that the tension between Dunn Pictures and Disney could ease up. Competition wasn’t going anywhere, but there was no need to air that to the public. Hollywood’s supposed to look united, positive, and full of good vibes.
“What about Dunn Pictures?” Maria asked with a teasing smile. “We know you’re a feminist warrior and a director. Are you planning to make films that push feminism forward—like, say, Thelma & Louise?”
“Absolutely,” Dunn replied without missing a beat.
“Care to elaborate?”
“You know Dunn Pictures is still building its foundation. This year’s project investments are locked in. But starting next year—2001—we’ll put money into at least one feminist film annually to drive social progress and lift women’s status.”
Maria’s eyes lit up, a mix of shock and delight. Dunn’s films carried serious weight. As a woman, she genuinely hoped he’d use his platform to advance feminism—and here he was, already planning it! Once this hit the news, feminists across the U.S., maybe the world, would be cheering.
Dunn leaned in, all serious. “It’s still under wraps, but I’ll let you in on something. Next year, I’m launching a new company under Dunn Pictures, focused solely on feminist films. These won’t be cheap throwaways—they’ll make waves, big social impact. I’ve even got the lead in mind: my girlfriend, Natalie Portman!”
Chapter 263: Dunn! A Sensation!
Legendary Pictures’ Michael Ovitz and Warner Bros.’ CEO Barry Meyer jointly attended the signing ceremony for a film slate investment deal between their two companies.
The event was a big deal—super formal, with tons of industry heavyweights dressed to the nines, all there to witness this historic moment.
Legendary Pictures, the first company in history to focus on brokering movie business investments, officially stepped onto the Hollywood stage—and it was a dazzling debut!
Plus, the first-ever film financing model of its kind in Hollywood history—“slate investment”—finally clinched the crown after a month and a half of buzz. It’s now the hottest new financing approach in town, hands down.
As the first to take the plunge, Warner Bros. doesn’t seem to be taking on any real risk. This slate investment partnership is set to solve their movie funding woes for the next two years, no sweat.
For Warner—and honestly, all of Hollywood—this is a game-changing new era!
Ever since Director Dunn’s Titanic took the world by storm, the phrase “new era” has been the hottest topic in Hollywood.
But what is this so-called new era for Hollywood?
Just Titanic alone?
Sorry, but even if you lump Titanic, Star Wars: Episode I – The Phantom Menace, and Spider-Man—three movies that each raked in over a billion bucks worldwide—it still doesn’t define Hollywood!
Dunn’s got talent, vision, and influence, no doubt. But he’s just one guy, and Dunn Films is just a small-scale movie outfit.
His success? It’s a fluke. He doesn’t represent Hollywood!
All that media hype about a “new era” for Hollywood? To a lot of old-school players and industry bigwigs, it’s total nonsense.
But then came the “slate investment” model, and suddenly, all six Hollywood giants are thinking the same thing: the new era? It’s here for real!
Dunn’s brainchild, this “slate investment” thing, is legit opening a new chapter for Hollywood!
Its impact outweighs even the handful of blockbuster movies Dunn’s churned out. His stock in Hollywood? It’s about to skyrocket.
Legendary Pictures raised $500 million, which isn’t exactly a secret around here.
Now, they’ve locked in a deal with Warner Bros. Over the next two years, they’ll pump $2.4 billion into Warner, spread across 40 of their upcoming films.
That means, with no extra investors on the horizon, Legendary’s leftover cash can only handle one big client!
But Hollywood’s got other heavy hitters: Universal, Sony, Paramount, Disney, and 20th Century Fox.
Too many monks, not enough meat!
Disney and Fox, who’ve got bad blood with Dunn Films, aren’t even dreaming of a shot.
With Dunn backing Legendary, there’s no way he’d help his sworn enemies with their cash flow problems.
Good thing the “slate investment” model Dunn cooked up isn’t rocket science. The basic idea? Any Wall Street analyst could break it down clear as day.
Word is, Disney and 20th Century Fox are already scheming in the shadows. Since Legendary’s out of reach, they’re planning to hit up private equity funds themselves and pull off their own slate deals.
But that’s a huge gamble. Whether it’s Hollywood or Wall Street, moving that kind of money without a solid middleman to vouch for you? Good luck.
The slate investment concept is gorgeous on paper. Top venture capital firms have crunched the numbers, and the returns beat out even the world’s biggest hedge fund, Bridgewater.
Still, it’s a brand-new game. Legendary only scored on Wall Street because Dunn’s name was attached!
Disney and Fox don’t have Dunn to back them up. Trying to pull a Michael Ovitz and sweet-talk Wall Street into coughing up big bucks? Not impossible, but it’s a hell of a climb!
Meanwhile, Sony, Universal, and Paramount—three giants who’ve never directly clashed with Dunn Films—are counting their blessings. They’ve got all kinds of PR tricks up their sleeves to woo Michael Ovitz, cozy up to Dunn Walker, and snag that second client spot with Legendary!
Universal, Dunn Films’ old partner, is betting everything on Dunn. While he’s filming in Boston, they’re faxing him a dozen docs a day to show how serious they are.
Dunn, though? He’s playing it cool.
Universal’s in a rough spot under Vivendi right now.
Back in the day, Dunn was all about helping out in a pinch—he’d probably have talked Ovitz into throwing Universal a bone.
But things are different now. Ron Meyer’s dodging Dunn’s hints like they’re nothing. He doesn’t buy Dunn’s predictions and hasn’t given up on Vivendi’s future yet.
Dunn’s dead-set on buying Universal Pictures, and Ron Meyer’s the key!
If Ron could rally Universal’s execs to mutiny, Dunn could swoop in with a management buyout and take the lead!
Then, even if Vivendi decides to sell Universal later, with multiple big players bidding, they’d have no choice but to pick Dunn Films.
So right now, Dunn’s not lifting a finger to help. He’s just gonna watch Ron Meyer sink into despair, then ride in like a knight in shining armor and take Universal for himself!
…
2000 is absolutely Dunn’s year!
He’s already dropped three bombshells on Hollywood this year alone!
Spring: He cleaned house in the stock and futures markets, becoming a mega-rich tycoon overnight—oh, and an FBI investigation made him a prime crime suspect.
Summer: Spider-Man hit theaters, sparking a box office frenzy! Normally, theaters run at about 15% capacity, but for its first two weeks, Spider-Man was packing seats at 90%. With $1.2 billion worldwide, it screamed the return of superhero flicks.
Fall: The slate investment plan rolled out, and it’s a total game-changer for Hollywood’s future. Even giants like Columbia and Paramount are kissing up to him now—a once-in-a-century sight around here…
Dunn’s a walking headline!
Or maybe he’s just a chaos magnet. In just a few short years in Hollywood, he’s carved out his own turf and left his mark on this century-old titan in all kinds of ways.
And that’s not all. The latest Time magazine? Dunn’s on the cover again. This time, it’s not about movies, slate deals, or market battles—it’s about feminism!
He’s out there championing women’s rights, which has zilch to do with Hollywood.
Hollywood’s always had a shiny facade—political correctness is its biggest flex. The power players squeeze female artists dry while preaching feminism to polish their image.
But Dunn’s not like other actors. He’s a director, a studio boss, and he’s planning to make a feminist movie!
It’s a touchy, fragile topic!
In other words, a thankless slog!
Why does Hollywood treat male and female actors differently? Because guys carry the box office, and women are usually just sidekicks!
Even a timeless classic like Thelma & Louise swept awards left and right—but how much did it make?
A measly $45 million at the box office!
And that’s a rare win. Over the decades, most feminist films have tanked hard.
Even this year’s well-reviewed Girl, Interrupted from Dunn Films is just aiming to break even. So far: $27.86 million in North America, $3.27 million overseas.
Doesn’t Dunn know this genre’s a market dud?
No way—he’s a commercial movie guru. He sees the landscape crystal clear.
So why’s he still dead-set on investing in feminist films? Two possibilities:
Either he’s a legit feminist, genuinely wanting to fight for women’s rights, or… his ambitions are so massive that the cost of a feminist flop is pocket change to him!
Don’t let Dunn’s youth fool you. Behind that easy smile is a mind too mysterious and complex to pin down. Especially after the slate investment dropped, Hollywood’s view of him has totally flipped.
He’s damn impressive!
And nobody can figure out what he’s really thinking.
“Hey, since when am I starring in a movie?” Taking advantage of the weekend, Natalie swung by the A Beautiful Mind set and breezily moved into Dunn’s guest room.
In the bedroom, a few women’s pajamas and some flirty lingerie hung around—obviously Nicole Kidman’s. Natalie didn’t bat an eye, just flopped onto the bed and glanced back at him. “Well?”
Dunn stepped out of the bathroom, casually adjusting his robe, grinning. “Oh, you mean the Time interview? Ha, it’s just an idea for now. Script’s not even started.”
“And you didn’t think to run it by me?” Natalie shot him a mildly annoyed look.
Dunn’s eyes widened. “Wait, what? Aren’t you always griping about not getting enough movie roles? What, you don’t want to be the lead?”
Since Léon: The Professional, Natalie hasn’t landed a real starring role. In the Star Wars prequels, she’s technically the female lead, but it’s a bit part—the Jedi are the real stars.
“Who said that? Of course I do!” Natalie huffed. “But you’re so bossy! Why not talk to me first? It’s my career—you don’t get to decide for me!”
“Alright, Nat, my bad. I’ll check with you next time. This interview kinda blindsided me—I’m not even ready yet. No script or anything,” Dunn said, throwing up his hands in surrender before hopping onto the bed next to her. “You gonna shower? Or should we just…”
“Why’s your mind always on that?” Natalie rolled her eyes and snorted. “I swear, are you made of steel or something? I’m hitting the shower. After… you’re telling me what this movie’s even about.”
“Yes, ma’am!”
“Jerk!”
…
2000’s been a wild, epic ride for Dunn.
Maybe it’s because he went easy on Disney in that Time interview. Maybe the slate investment ripple effect was too huge. Or maybe Disney just doesn’t have the guts to keep fighting Dunn Films in the movie game…
Whatever the reason, Michael Eisner’s finally waved the white flag.
And then, the most jaw-dropping news started circulating in Hollywood’s inner circle.
Two months after Disney slapped a ban on Dunn Films, they quietly sent out a memo scrapping it.
Meanwhile, Dunn Films’ ban on Disney? Still an active, official document—every Hollywood insider’s got a copy.
After their bloody showdown, media titan Disney—led by Michael Eisner, who’d dominated Hollywood for two decades—cracked first, bowing to Dunn and admitting defeat!
Is Hollywood’s power structure about to get a redraw?
Who knows.
But Disney’s surrender sent shockwaves through the core of Hollywood—way bigger than the slate investment buzz.
This time, it’s a smaller-scale sensation.
But for Hollywood, the impact? It’s more stunning than anything Dunn’s pulled off before.
Don’t forget who he’s up against: Michael Eisner!
The Disney king himself!
Chapter 264: Steady Steps, Strategic Moves
Michael Eisner lifted the ban on Dunn Pictures quietly, without even giving Dunn’s team a heads-up. Dunn only found out through Bill Mechanic.
Hearing the news, he sat in silence for a while.
So, that’s it? Victory?
It didn’t feel all that satisfying.
But soon enough, Dunn pieced it together. On the surface, sure, he’d beaten Disney and carved out his own space. But Michael Eisner’s retreat wasn’t a surrender—it was just a compromise after weighing the pros and cons. In other words, Eisner didn’t back off because of Dunn; he did it because of Disney’s shareholder meeting. If he were truly conceding to Dunn, he’d have at least made a courtesy call to smooth things over.
Instead, what did he do? He sent Anne Hathaway, a minor actress, to deal with it—no formal apology, no real show of sincerity. Knowing Eisner’s personality, it’s clear Disney’s bound to keep clashing with Dunn Pictures down the line. They just won’t be as reckless about breaking the rules as before.
Normal market competition? Dunn wasn’t scared of that. Bring it on! He might hesitate with dirty tricks, but in a straight-up game of strategy, he’d built a massive network and a hidden empire. Disney didn’t faze him one bit.
“Eisner’s made his move, Dunn. Let’s go with the flow—no need to dig in our heels,” Bill Mechanic said. He’d been quietly steering Dunn Pictures, his cautious approach providing a safety net for its rapid growth. Even when their opinions clashed, Dunn respected him. If Dunn Pictures was a high-speed supercar, the gas pedal alone wouldn’t cut it—brakes were just as crucial.
“He didn’t even tell us, though,” Dunn pointed out.
“True, but word’s spreading fast. Everyone who’s anyone in the industry knows by now. Just this morning, I’ve gotten over a hundred congratulatory emails.”
Dunn grinned. “Sounds like you’re in for a busy stretch—lots of parties and dinners coming up.”
“Dunn!” Bill’s tone grew stern. “You know that’s not what I mean. Busy work’s one thing, but Disney’s still lurking, and that’s what’s got us on edge. Don’t think for a second Eisner’s throwing in the towel. That guy… he doesn’t give up easy.”
Dunn’s smile faded as a set assistant rushed over. He waved her off before she could speak. “Bill, my stance hasn’t changed. Whatever Disney’s up to, Dunn Pictures keeps moving forward, steady and focused on our own game. I’ve got the confidence to back it up.”
“No need to get stubborn about it,” Bill said, clearly annoyed.
“Bill, I’m not being stubborn. Call it bold if you want—this is a scenario I saw coming a mile away. Everything’s under control. No need to worry.”
Bill hesitated. “And Disney?”
Dunn smirked. “We wait and see. They didn’t bother telling us, right? So we’ll act like we don’t know. If they want to admit defeat or apologize, they’d better do it with some guts. What’s this half-baked nonsense? Do they think I’m that easy to fool?”
Bill couldn’t help but laugh, exasperated. “Alright, Dunn, if you’ve got the situation figured out, I’ve got nothing left to say. Just… with this attitude of yours, I’m probably in for some flak from the old-timers in the industry.”
Dunn burst out laughing. “Then I’ll owe you one!”
After hanging up, he glanced at the Vacheron Constantin watch Natalie had given him, frowning. “Didn’t I say a half-hour break? It’s only been 15 minutes.”
The assistant fidgeted nervously. “It’s not the crew—it’s a fax from the finance department. It just came in from Dunn Capital.”
“Oh?” Dunn’s eyes lit up with curiosity.
Dunn Capital mainly handled stock and futures trading, overseen by Scott Swift—Taylor’s dad. But Dunn personally managed the investment side. The assistant explained, “It’s from Mr. Swift himself. He sent it directly, marked for your hands only. It’s about a financing request from GA Entertainment.”
Investment decisions were Dunn’s domain, so Scott passing the buck to him made sense. What was odd, though, was why a small entertainment company caught Scott’s eye.
“A movie studio?” Dunn asked.
“No, a toy company.”
Now Dunn was really intrigued. He took the file and skimmed it, his pulse quickening as it clicked—GA Entertainment wasn’t just any company. No wonder Scott, a guy obsessed with the stock market, flagged this and sent it his way. Dunn’s recent comments about Barbie dolls had caused a massive ripple effect. Mattel had even issued multiple PR statements, promising to overhaul Barbie’s look, body, skin tone, and personality. The uproar was so big it reached Scott’s ears. And GA Entertainment’s financing pitch? It was aimed squarely at taking on Barbie.
Dunn was swamped. He wasn’t just a director anymore—he was a social commentator, entrepreneur, and investor. While shooting A Beautiful Mind, he had to dodge surprise visits from feminist groups and carve out time to meet with startups. This time, it was GA Entertainment, an up-and-coming American toy company focused on girls.
It’s kind of funny—Dunn never planned to dip his toes into the toy market. But by chance, he’d invested in Hasbro, taken a swing at Mattel, and now might tie up with GA Toys.
That evening, after wrapping A Beautiful Mind for the day, Dunn changed into casual clothes and stayed put at his hotel. He was waiting for someone: Isaac Larian, the founder, chairman, and CEO of GA Entertainment.
Isaac Larian was Iranian, arriving in the U.S. at 17 to study at Cal State. After graduating, he became a U.S. citizen, started a business, and in 1998, teamed up with his brother to launch GA Entertainment. Now, at 46, he was based in LA’s San Fernando Valley—close to Hollywood. Flying out to meet Dunn in person showed real sincerity, especially for a guy who’d been in the business game for over a decade. Humbling himself like this spoke to his savvy and grit.
America’s been preaching racial equality for half a century, but in a melting pot like this, subtle discrimination runs deep. With his dark skin and Middle Eastern features, Isaac had to pass a thorough security check by Dunn’s team before stepping into the room.
Dunn had just finished some dessert in the dining area of his presidential suite. Seeing Isaac, he stood up warmly. “Mr. Larian, sorry about this—I’m swamped with filming lately, so I had to ask you to come to me.”
Dunn’s humility put Isaac at ease. With a thick accent, he replied, “Mr. Walker, you’re too kind. You’re a big director, a major investor—it’s only right I come to you.”
Just then, Nicole Kidman glided over with two glasses of ice wine, smiling. “This is my dad’s homemade wine. Hope you like it.”
Isaac stood to thank her, taking the glass respectfully. When he looked up, he froze. Wait… isn’t that Nicole Kidman? The Nicole Kidman? In her thirties, she had this perfect mix of mature charm and jaw-dropping beauty—every middle-aged guy’s dream goddess.
“Uh… Miss Kidman…” he stammered.
She smiled lightly. “You guys talk business—I won’t get in the way.”
She floated in and out, leaving just a whiff of perfume, like she hadn’t even been there. Isaac sat there, dazed, staring at the glass of wine like it was some rare elixir. He took a tiny sip, and it felt like a cool wave washing over him, straight to his soul.
Then he glanced at Dunn, who took a casual swig, spat it back into the glass with a “Pfft!” and grumbled, “This crap tastes like shit!”
Isaac was floored. That… that’s wine made by a goddess’s dad! You’re wasting it! But in that moment, he got it. He might be twenty-plus years older, with over a decade in business, but next to Dunn, he was nothing. Nicole Kidman was his idol, but to Dunn, she was probably just a plaything—there when he wanted her, gone when he didn’t.
Isaac settled onto the sofa across from Dunn, taking a deep breath and forcing a smile. “Mr. Walker, I’m here to pitch my company, GA Entertainment.”
Dunn watched him, amused. The guy still seemed lost in the glow of Nicole’s entrance—an unintentional power move on her part. Hilarious. “GA Entertainment, a toy company founded two years ago. I’ve skimmed the prelim docs,” Dunn said, crossing his legs. His relaxed vibe naturally shifted into something commanding. He waved a hand. “But from what I saw, your company’s not exactly killing it, right? I heard your partner’s already bailed?”
